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BRYAN'S    DICTIONARY 


OF 


PAINTERS    AND    ENGRAVERS 


IN  FIVE  VOLUMES 


GEORGE  BELL  AND   SONS 

LONDON  :  YORK  ST.  COVENT  GARDEN 
CAMBRIDGE  :  DEIGHTON,  BELL  &  CO. 
NEW  YORK  :  THE  MACMILLAN  CO. 
BOMBAY  :     A.     H.     WHEELER    &    CO. 


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^      BRYAN'S    DICTIONARY 

OF 
I 

PAINTERS    AND    ENGRAVERS 


NEW    EDITION    REVISED    AND    ENLARGED 


UNDER    THE     SUPERVISION     OF 


GEORGE    C.    WILLIAMSON,    Litt.  D. 


WITH    NUMEROUS    ILLUSTRATIONS 


VOLUME    I.    A-C 


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3,»>  I     I  *  t     *    M  ' »' 


THE    MACMILLAN     COMPANY 

LONDON:    GEORGE    BELL   AND    SONS 

I  903 

AU  rights  reserved 

49Hf;4 


REFFREMCE 

N  A-o 
PEEFACE 


"fHE  first  editon  of  "  Bryan's  Biographical  and  Critical  Dictionary  of  Painters  and 
Engravers"  was  published  in  1816,  and  since  that  time  it  has  held  its  place  without  a 
riva^  as  the  most  complete  and  trustworthy  authority  on  the  facts  and  lives  of  the 
painters  and  engravers  with  whom  it  deals.  In  1849  it  was  revised  by  Mr.  J.  Stanley, 
and  subsequently  in  1876  a  Supplement  was  prepared  by  Mr.  H.  Ottley.  Between 
that  time  and  1884  not  only  had  it  become  necessary  to  add  a  very  considerable  number 
of  names,  but  the  whole  range  of  artistic  knowledge  and  criticism  had  undergone  most 
important  and  far-reaching  changes  owing  to  the  researches  of  Messrs.  Crowe  and 
Cavalcaselle,  Milanesi,  Morelli,  Bertolotti  and  others  on  the  lives  and  works  of  the 
Italian  painters;  to  those  of  Kramm,  Michiels,  Fetis,  Havard,  Hymans,  Van  den 
Branden,  Weale,  and  Siret  on  the  Dutch  and  Flemish  painters ;  to  those  of  Passavant, 
Waagen,  Forster,  Meyer,  Bode,  Woltmann,  Schlie,*  Riegel,  and  Von  Reber  on  the 
painters  of  Germany  and  other  lands ;  and  to  those  of  the  late  Sir  William  Stirling 
Maxwell  and  Senor  Madrazo  on  the  art  and  artists  of  Spain.  The  edition  issued  in 
Parts  from  1884-9  under  the  editorship  of  Mr.  R.  E.  Graves  and  Sii-  Walter  Arm- 
strong was  consequently  to  a  great  extent  a  new  work,  and  extended  to  almost  double 
the  size  of  its  predecessor ;  a  considerable  number  of  engravers  especially  having  been 
added. 

During  the  fourteen  years  which  have  intervened  many  more  names  have  un- 
fortunately become  eligible  for  inclusion,  and  further  researches  have  brought  to  light 
new  facts,  while  fresh  attributions  and  the  transposition  of  numerous  pictures  have 
made  much  alteration  necessary.  In  this  volume,  the  first  of  five  of  which  the  new 
edition  will  consist,  will  thus  be  found  seventy-two  new  biographies  specified  below, 
whilst  upwards  of  six  hundred  corrections  and  alterations  necessitated  by  the  march 
of  time  have  been  introduced  into  the  other  lives. 

The  most  notable  of  the  new  articles  are  those  on  Jacopo,  Gentile  and  Giovanni 
Bellini,  contributed  by  Mr.  Roger  E.  Fry  ;  Giotto  (Bondone)  by  Mr.  F.  Mason  Perkins, 
his  latest  biographer;  two  important  contributions  on  Altdorfer  and  Blake  by  Mr, 
Oldmeadow ;  Burne-Jones,  Vicat  Cole,  Sidney  Cooper,  Sir  F.  Burton  by  Mr.  Malcolm 
Bell ;  Mark  Antony  and  Ansdell  by  Mr.  Dibdin,  the  chief  authority  on  the  Liverpool 
School;  Dirk  Bouts  by  Mr.  Weale;  Arnold  Bocklin  by  Mr.  G.  Ravenscroft  Dennis; 
Bellin  by  Mr.  Elliot  Stock;  David  Cox  by  Mr.  Arthur  B.  Chamberlain  of  the  Birming- 
ham Art  Gallery;  Bonheur,  Ford  Madox  Brown,  Cosway,  Constant,  Calderon,  Beardsley 


vi  PREFACE. 

and  others  by  the  editor,  the  article  on  Beardsley  being  the  result  of  per  onal 
acquaintance  with  this  much  maligned  and  very  clever  artist.  In  addition  to  lohese 
articles,  shorter  accounts  have  been  specially  written  of  Armitage,  Ahsolon,  Adam, 
Andrews,  Arbo,  Aivozowski,  Alvarez,  Anguisciola,  Barnard,  Barlov),  Barher,  Bui'gess, 
Brown,  Barwell,  Beams,  Beard,  Bonington,  Bashkirtseff,  Bierstadt,  Bosboom,  Britirley, 
Benouville,  Browne,  Ballantyne,  Bellermann,  Boyce,  Bryan,  Brandard,  Broumlie, 
Binet,  Bles,  Boudin,  Baudry,  Brett,  Blanchard,  Block,  Brozik,  Collier,  Casado,  Casa^.iova, 
Cattermole,  Couscn,  Cope,  Gahat,  Chaplin,  Galthrop,  Cosway,  Cazin,  Clays,  and  Corbet, 
making  in  all  a  total  of  seventy-two  new  biographies.  In  addition  to  these  new 
biographies  many  others  have  undergone  revision  in  the  light  of  recent  rese.'irch, 
among  which  may  be  specially  mentioned,  Correggio  by  Dr.  Corrado  Ricci  of  the  Brera 
Gallery,  Milan;  Michel  Angelo  (Buonarroti),  Paolo  Veronese  (Caliari),  Cossa,  Costa, 
Cimabue,  Cima  and  Carpaccio  by  Mr.  Charles  Holroyd  of  the  National  Galleijy  of 
British  Art ;  Sodoma  (Bazzi)  and  Beccafumi  by  Mr.  R.  H.  Hobart  Cust,  auth^jr  of 
"  the  Pavement  Masters  of  Siena."  Dealing  as  a  work  of  this  sort  does,  with  facts 
rather  than  with  criticism,  the  labours  of  preceding  writers  must  necessarily  be  used 
with  a  frequency  which  makes  special  reference  in  every  case  impossible ;  but  the 
Editor  trusts  that  he  will  not  be  found  to  have  placed  himself  under  any  obligations 
that  he  may  not  here  frankly  and  gratefully  acknowledge.  Succeeding  volumes  of  the 
work  will  be  augmented  and  improved  in  a  similar  manner. 


June  1903. 


NOTICE 


As  confusion  frequently  arises  in  the  alphabetical  arrangement  of  biographical  dic- 
tionaries owing  to  the  arbitrary  mode  in  which  it  has  been  customary  to  deal  with  such 
names  as  are  preceded  by  an  article  or  a  preposition,  or  by  both,  it  has  been  thought 
desirable  in  this  work  to  adopt  the  grammatical  principle  sanctioned  by  the  Belgian 
Academy  in  regard  to  the  names  of  Flemish  and  French  (or  Walloon)  origin,  which 
are  included  in  the  "  Biographie  Nationale." 

The  arrangement  therefore  is  according  to  the  following  plan  : 

I.  Every  artist  having  a  surname  is  placed  under  that  surname,  cross-references  being 
given  from  assumed  names  and  sobriquets  whenever  needed. 

Thus,  Correggio  is  entered  under  Allegri,  Antonio. 

Pinturicchio  „  Biagio,  Bernardino. 

Sehastiano  del  Pionibo  „  Luciani,  Sehastiano. 

Tintoretto  „  Eobusti,  Jacopo. 

Titian  „      '  Vecelli,  Tiziano. 

(a)  When  the  prefix  to  a  name  is  an  article  it  remains  annexed,  because  it  is  an  integral 
part  of  the  name ;  but  when  it  is  a  preposition,  it  is  disunited,  because  it  indicates  the  place 
of  origin  or  birth  of  the  artist,  or  a  territorial  or  seigneurial  name.  Thus,  the  French  Le 
and  La,  and  the  equivalent  Dutch  and  Flemish  Be  are  retained  ;  while  the  French  de,  the 
Italian  da  and  di,  the  German  von,  and  the  Dutch  and  Flemish  van  are  rejected. 


Thus,  Chai'les  Le  Brnn 

is  entered  under 

Le  Brun. 

Jan  David  De  Heem 

'> 

De  Heem. 

Jean  Franfois  de  Troy 

j> 

Troy. 

Heinrich  Maria  von  Hess 

J) 

Hess. 

Isaac  van  Ostade 

» 

Ostade. 

(h)  When  the  prefix  is  an  article  joined  to  or  preceded  by  a  preposition,  as  in  the  French 
du,  de  la,  and  des,  the  Italian  del,  della,  degli,  dai,  dagli,  and  dalle,  the  Spanish  del  and  de 
la,  and  the  Dutch  van  der,  van  de,  van  den,  and  ver  (a  contraction  for  vati  der),  it  cannot  be 
disunited  from  the  proper  name,  because  the  particles  together  represent  the  genitive  case  of 
the  article. 

Thus,  Alplwtise  du  Fresnoy  is  entered  under  Du  Fresnoy. 

Lam-ent  de  La  Hire  „  De  La  Hire. 

Niccola  deU'  Abbaie  „  Dell'  Abbate. 

Girolamo  dai  Libri  „  Dai  Libri. 

Willern  van  de  Velde  „  van  de  Velde. 


riii  NOTICE. 

(c)  English  artists  bearing  foreign  names  are  placed  under  the  prefix,  whether  it  be  an 
article  or  a  preposition. 

Thus,  Peter  De  Wint  is  entered  under  De  Wint. 

(d)  Proper  names  with  the  prefix  iS"*.  are  placed  as  though  the  word  Saint  were  written 
in  full  :  and  similarly,  J/'  and  Ifc  are  arranged  as  Jfac. 

(e)  Foreign  compound  names  are  arranged  under  the  firet  name. 

Thus,  Baptiste  Auhry-Lecomte  is  entered  under  Avbrij-Lecomte. 

Juan  Cano  de  Arevalo  „  Cano  de  Arevalo. 

II.  An  artist  having  no  surname  is  placed  under  the  name  of  the  place  from  which  he 
IS  known,  or  failing  that,  mnder  his  own  Christian  name. 

Thus,  Andrea  da  Bologna  is  entered  under  Bologna. 

Andrea  del  Sarto  „  Andrea. 

Fra  Bartolommeo  „  Bartolommeo. 

III.  Anonymous  artists  known  as  the  Master  of  ilve  Crab,  the  Master  of  the  Die,  the 
Master  of  the  Bat-Trap,  will  be  found  under  the  common  title  of  Master. 

R.  E.  G. 


COXTRIBUTORS  OF  INITIALED   ARTICLES. 

W.  A.  ...  ...  ...  ...  Sir  Walter  Armstrong. 

M.  B.  ...  ...  ...  ...  Malcolm  Bell. 

A.  B.  C.  ...  ...  ...  ...  Arthur  B.  Chamberlain. 

R.  H.  H.  C.    ...  ...  ...  ...  E.  H.  Hobart  Cust. 

G.  R.  D.  ...  ...  ...  ...  G.  R.  Dennis. 

E.  R.  D.  ...  ...  ...  ...  E.  R.  Dibdin. 

O.  J.  D.  ...  ...  ...  ...  O.J.  Dullea. 

R.  E.  F.  ...  ...  ...  ...  Roger  E.  Fry. 

R.  E.  G.  ...  ...  ...  ...  Robert  Edmund  Graves. 

M.  M.  H.  ...  ...  ...  ...  Mary  M.  Heaton. 

C.  H.  ..  ...  ...  ...  Charles  Hoi royd. 

E.  J.  0.  ...  ...  ...  ...  E.  J.  Oldmeadow. 

F.  M.  P.  ...  ...  ...  ...  F.  M.  Perkins. 

P.P.  ...  ...  ...  ...  Percy  Pinkert  on. 

C.  R.  ...  ...  ...  ...  Corrado  Ricci. 

J.  P.  R.  ...  ...  ...  ...  J.  P.  Richt«r. 

W.  B.  S.  ...  ...  ...  ...  William  Bell  Scott. 

F.  S.  ...  ...  ...  ...  Florence  Simmonds. 

H.  C.  S.  ...  ...  ...  ...  H.  Clifford  Smith. 

E.  S.  ...  ...  ...  ...  Elliot  Stock. 

W.  H.  J.  W.  ...  ...  ...  ...  W.  H.  James  Weale. 

G.  C.  W.  ...  ...  ...  ...  George  C.  WiUiamson. 


LIST  OF  ILLUSTRATIONS 


ANTONIO  ALLEGRI,  called  CORREGGIO 

The  Adoration  of  the  Shepherds  (Photogravure  Plate)       .        .       Dresden  Frontispiece 

Apostles  and  Genii  in  the  Cupola       ....         Parma  Cathedral  To  face  p.   22 

FoDR  Lunettes  and  Roundels  of  Children          Convent  of  S.  Paolo,  Parma  „           24 

PIETRO  ALEMANNO,  or  ALMANNO 

Altar-piece,  1489 Ascdi  „  16 

ANGIOLO  ALLORI,  called  BRONZING 

Ferdinando  de'  JIedici TIffizi  Gallery,  Florence  „  26 

MICHEL  ANGIOLO  AMERIGHI,  called  CARAVAGGIO 

The  Lute  Player Vienna  „  32 

ANDREA  D'AGNOLO,  called  ANDREA  DEL  SARTO 

St.  John  Baptist Pitti  Palace,  Florence  ,,  36 

Portrait  of  the  Artist National  Gallery  „  36 

ANTONELLO  DA  MESSINA 

St.  Jerome  in  His  Study Natiotuil  Gallery  „  44 

E.  ARMITAGE 

Judas  Iscariot Tate  Gallery  „  52 

ALESSO  BALDOVINETTI 

The  Annunciation Uffizi  Gallery,  Floretice  „  74 

GIOVANNI   FRANCESCO   BARBIERI,  called  GUERCINO 

The  Annunciation Forli  „  82 

FEDERIGO  BAROCCIO 

The  Appearance  of  Christ  to  Mary  Magdalene  Corsini  Gallery,  Rome  „  84 

BARTOLOMMEO  DI  PAGHOLO,  called  FRA  BARTOLOMMEO 

The  Virgin  and  Child  enthroned  with  Saints Liuxa  „  90 

Portrait  op  Savonarola Florence  „  90 

F.  BARTOLOZZI 

Mildness „  92 

Vends  in  hee  Chariot „  92 

POMPEO  BATTONI 

The  Holy  Family Brera  Gallery,  Milan  „  94 

Mary  Magdalene Dresden  „  94 

GIOVANNI  ANTONIO  BAZZI,  called  SODOMA 

St.  Victor Palaszo  PubUico,  Siena  „  98 

DOMENICO  BECCAFUMI 

The  Story  of  Moses  and  the  Tables  op  the  Law     .  The  Pavement,  Siena  „         104 


X  LIST  OF   ILLUSTRATIONS, 

SIR  W.  BEECHEY 

The  Brothee  and  Sister Louvre    To  face  p.  106 

GENTILE  BELLINI 

The  Miracle  of  the  Holt  Cboss  {Photogravure  Plate)  .      Accademia,  Venice  „         112 

GIOVANNI  BELLINI 

The  Trassfiguration Naplts  ,,         114 

THOMAS  BEWICK 

The  Chillingham  Bull,  1789 ,.130 

BERNARDINO  DI  BIAGIO,  called   PINTURICCHIO 

^NEAS  Piccolomini  ON  HIS  WAT  TO  THE  CouxciL  AT  Basel  .     Library,  Siena  ,,  130 

FRANCESCO  BIANCHI 

The  Madonna  and  Child  with  St.  Benedict  and  St.  Quentin  .         Louvre  „         132 

DOMENICO  BIGORDI,  called  GHIRLANDAIO 

St.  Jerome  in  his  Study         .        .        .      Church  of  the  Ognissanti,  Florence  „         134 

The  Adoration  of  the  Magi         .        .      Hospital  of  the  Innocenti,  Florence  „         134 

ARNOLD  BOECKLIN 

The  Island  of  the  Dead Leipzig  Museum  „         152 

GIOTTO  DI  BONDONE,  called  GIOTTO 

The  Final  Judgment Arena  Chapel,  Padua  „         162 

The  Funeral  of  St.  Francis Sta  Oroce,  Florence  „         162 

ROSA  BONHEUB 

The  Hobsb  Fair National  Gallery  „         164 

BONIFAZIO  VERONESE 

Moses  brought  to  the  Daughter  of  Pharaoh    .        .  Brera  Gallery,  MHan  „         166 

The  Adoration  of  the  Magi Accademia,  Venice  „         166 

R.  P.  BONINGTON 

A  Coast  Scene  {Photogravure  Plate) Hertford  House  „         166 

The  Old  Governess Louvre  „         166 

FRANCESCO  BONSIGNORI 

Details  of  a  Polyttch San  Giovanni  e  Pcu)lo,  Venice  „         168 

ALESSANDRO  BONVICINO,  called  MORETTO 

Portrait  of  an  Italian  Nobleman        ....         National  Gallery  „  170 

St.  Bernardino  of  Siena  with  other  Saints        .        .         Natiotud  Gallery  „         170 

PARIS  BORDONE 

The  Fishermen  bringing  the  ring  to  the  Doge  Gbadenigo  Accademia,  Venice  „  170 

Portrait  of  a  Lady National  Gallery  „         170 

FRANCOIS  BOUCHER 

Madame  de  Pompadour  (Photogravure  Plate)  .        .        .        South  Kensington  „  176 

THIERRY  BOUTS 

St.  Christopher Munich  „         184 

JOHN  BRETT 

The  Stone-Breaker         ....        Collection  of  James  Barrow,  Esq.  „         194 

FORD  MADOX  BROWN 

Cordelia  (Pltotogramire  Plate) ,>  200 

Christ  washing  St.  Peter's  Feet Tate  GaUery  „  202 

Chaucer  at  the  Court  of  Edward  III Sydney  Gallery  „  202 

BUONARROTI,  caUed  MICHELANGELO 

The  Creation  of  Man Sistine  Chapel,  Rome  „  210 

The  Three  Fates PiUi  Palace,  Florence  „  212 

The  Madonna  and  Infant  Christ,  St.  John  and  Angels      National  GaUery  „  21'4 


LIST   OF  ILLUSTRATIONS.  xi 

HANS  BURGKMAIR 

The  EiMPEROR  Maximilian,  1518 .To  face  p.  216 

SIR  E.  BURNE-JONES 

King  Cophetua  and  the  Beggar  Maid  {Photogravure  Plate)        Tate  Gallery  „         218 

P.  H.  CALDERON 

Renunciation Tate  Gallery  ,,         228 

PAOLO  CALIARI,  called  VERONESE 

The  Marriage  of  Cana Limvre  ,,         230 

ANTONIO  CANAL,  called  CANALETTO 

View  on  the  Grand  Canal,  Venice      ....         National  Gallery  „         242 

Regatta  on  the  Grand  Canal National  Gallery  „         242 

VITTORE  CARPACCIO 

The  Dream  of  St.  Ursula Accademia,  Venice  „  254 

St.  Ursula  and  the  Pope Accademia,  Venice  ^,        254 

ANNIBALE  CARRACCI 

The  Artist  by  Himself Uffizi  Gallery,  Florence  „         256 

Christ  in  Glory  in  the  Clouds Vatican,  Eome  „         256 

LODOVICI  CARRACCI 

The  Madonna  and  Child,  Angels  and  Saints       .        .        .  Bologna  Gallery  „         258 

ROSALBA  CARRIERA,  called  ROSALBA 

A  Lady  {Pastd) Lovm-e  „         260 

ANDREA  DEL  CASTAGNO 

Giovanni  Boccaccio Sant'  Apollonia,  Florence  „         266 

P.  DE  CHAMPAIGNE 

Three  Portraits  of  Cardinal  Richelieu      .        .        .         National  Gallery  „         282 

CIMABUE 

The  Madonna  and  Child        ....       Sta  Maria  Novella,  Florence  „  294 

G.  B.  CIPRIANI 

Cupids  on  a  Goat „         296 

VINCENZO  CIVERCHIO 

The  Birth  op  Christ Brera  GaUery,  Milan  „         298 

CHARLES  COLLINS 

Convent  Thought Oxford  „         314 

WILLIAM  COLLINS 

Happy  as  a  King Tate  Gallery  ,,         316 

GIOVANNI  BATTISTA  DA  CONEGLIANO,  called  CIMA 

St.  Peter  Martyr  and  two  Saints Brera,  MUan  „  318 

The  Virgin  and  Child  with  Saints Parma  Gallery  „  318 

The  Madonna  and  Child Bologna  GaUery  ,,  318 

JOHN  CONSTABLE 

Salisbury  Cathedral  {Photogravwre  Plate)    .        .        .  South  Kensington  „  320 

The  Valley  Farm National  GaUery  „  322 

The  Hay-wain National  Gallery  „  322 

BENJAMIN  CONSTANT 

Heb  Majesty  Queen  Alexandka „         322 

T.  SIDNEY  COOPER 

Cattle  Piece Cambridge  „         326 

J.  S.  COPLEY 

The  Siege  of  Gibraltar National  Gallery  „         326 


lii  LIST  OF  ILLUSTRATIONS. 

J.  B.  C.  COROT 

Landscape Louvre    To  face  p.  332 

FRANCESCO  COSSA 

St.  Vicentius  Ferrer  (Dominican-)         ....         National  Galkry  „  336 

The  Madonna  and  Child  with  Angels         ....  Bologna  Gallery  „         336 

LORENZO  COSTA 

The  Madonna  and  Child  with  the  Bentivoglio  Family   .        .       Bologna  „         336 

JOHN  SELL  COTMAN 

A  Galiot  in  a  Galk National  Gallery  „  338 

LUCAS  CRANACH 

The  Agony  in  the  Garden Dresden        .   „         348 

LORENZO  DI  CREDI 

The  Madonna  and  St.  John Uffizi  Gallery,  Floretue  „         360 

THOMAS  CRESWICK 

The  Pathway  to  the  Village  Church Taie  Gallery  „         352 

CARLO  CRIVELLI 

Madonna  and  Saints,  the  Infant  Christ  giving  the  Keys  to  St.  Peter  Berlin  „         354 

The  Annunciation,  1486 National  Gallery  „         354 

VITTORIO  CRIVELLI 

Madonna  and  Child Torre  de  Palme  „         356 

ADELBERT  CUYP 

RiYER  Scene  with  Cattle  [Photogramire  Plate)    .        .         National  Gallery  ,,         362 


BIOGRAPHICAL    DICTIONARY 


OF 


PAIIN^TEES    AJ^D    EJ^GEAVEES. 


AA,  Van  deb.    See  Van  dek  Aa. 

AACHEN,  JoHANN  VON  (or  Aach),  who  was 
born  in  Cologne  in  1552,  takes  his  name  from 
the  town  of  Aachen  (Aix-la-Chapelle),  the  birth- 
place of  his  father.  His  early-displayed  talent 
for  art  induced  his  parents  to  comply  with  his 
wish  to  become  a  painter,  and  he  was  placed 
under  the  tuition  of  a  respectable  portrait  painter, 
named  Jerrigh.  After  passing  sis  years  under 
this  master,  he  appMed  himself  to  study  and 
copy  the  works  of  Barthel  Spranger.  About  the 
year  1584  he  visited  Italy,  and  first  stopped  at 
Venice,  where  he  passed  some  time  among  the 
great  works  of  art  in  that  distinguished  school  of 
colouring.  He  studied  especially  the  style  of 
Tintoretto,  with  much  success.  He  afterwards 
went  to  Kome,  where  his  first  painting  was  an 
altar-piece,  representing  the  '  Nativity,'  for  one 
of  the  chapels  of  the  Jesuits'  cliurch.  He  also 
painted  a  picture  which  gained  him  great  reputa- 
tion, and  has  been  considered  as  one  of  his  best 
productions ;  in  it  he  represented  the  portrait 
of  the  celebrated  musician,  '  Madonna  Venusta 
playing  on  a  Lute,'  and  introduced  himself  hold- 
ing a  goblet  of  wine.  From  Rome  he  went  to 
Florence,  where  he  painted  the  portrait  of  the 
famous  poetess  '  Madonna  Laura.'  In  1588,  the 
Elector  of  Bavaria  invited  him  to  Munich,  where 
he  produced  his  most  excellent  work  the  '  Resur- 
rection of  our  Saviour,'  which  hag  been  engraved 
by  Raphael  Sadeler ;  and  the  '  Finding  of  the 
True  Cross  by  Helena,  mother  of  Constantino.' 
He  painted  the  portraits  of  the  electoral  family, 
and  was  liberally  rewarded  by  his  employer,  who 
also  presented  him  with  a  gold  chain  and  medal. 
By  the  invitation  of  the  Emperor  Rudolph  II.,  he 
visited  Prague,  where  the  court  was  then  held,  and 
was  favoured  with  the  particular  patronage  of  that 
monarch.  His  first  work  was  a  picture  of  'Venus 
and  Adonis,'  which  he  designed  with  a  taste  and 
elegance  then  little  known  in  Germany.  This 
performance  was  so  much  admired  by  the  emperor 
that  he  retained  him  in  his  service  for  the  remain- 


der of  his  life.  Von  Aachen  died  in  1615  in  Prague. 
It  is  but  justice  to  this  painter  to  allow  him  the 
credit  of  being  one  of  the  first  that  attempted  to 
reform  the  stiff  and  Gothic  taste  of  his  country, 
and  although  he  did  not  entirely  divest  himself  of 
it,  it  may  be  asserted  that  his  design,  always  cor- 
rect, approaches  sometimes  to  grace  and  beauty. 
His  '  Bathsheba  Bathing,'  in  the  Vienna  Gallery,  is 
one  of  his  best  works.  The  dates  of  his  birth  and 
death,  above  given,  are  taken  from  the  inscription 
on  the  monument,  erected  at  Prague  to  his  memory 
by  his  widow,  which  was  discovered  in  1790. 
Other  authorities  give  1562  as  the  date  of  his 
birth. 

AALST,  Van.    See  Aelst. 

A  ART  JEN  VAN  LEIDEN     See  Claessoon. 

AARTSEN,  PiETER  (or  Aebt-      -stn  ^ 

SEN,  or  AbUAENSZ,  in  which  form  /4^  vTV/ 
it  oocurs'in  the  record  of  his  death  •* 

in  the  '  Oude  Kerk '  at  Amsterdam).  This  painter, 
called  from  his  great  height  '  Lange  Peer,'  was 
the  son  of  a  stocking  manufacturer,  and  born  at 
Amsterdam  in  1507.  Having  shown  an  early 
inclination  for  art,  he  was  placed  under  AUart 
Claessen,  with  whom  he  did  not,  however,  remain 
longer  than  was  necessary  to  learn  the  first  rudi- 
ments, and  in  1535  he  joined  the  Antwerp  Guild. 
Before  long  he  had  produced  several  pictures  of 
the  interiors  of  kitchens  with  culinary  utensils, 
painted  with  great  spirit,  and  well  coloured.  These 
performances  were  much  admired,  and  it  is  some- 
what remarkable,  that  although  he  was  so  success- 
ful in  his  attempts  in  that  style,  he  abandoned  these 
subjects,  and  applied  himself  to  the  more  elevated 
walk  of  sacred  historical  painting,  in  which  he 
acquired  no  little  celebrity.  One  of  his  most 
esteemed  works  was  the  altar-piece  he  painted  for 
the  church  of  Our  Lady  at  Amsterdam.  The 
principal  picture  represented  the  '  Death  of  the 
Virgin  Mary,'  and  on  the  two  folding  doors  ho 
painted  the  '  Nativity,'  and  the  '  Adoration  of  the 
Magi.'  These  subjects  were  ingeniously  composed 
and   well  drawn,  and  the   colouring  warm  and 

1 


A  BIOGEAPHICAL  DICTIONARY  OF 


harmonious.     Sandrart  asserts,  that  he   received 
two  thousand  crowns  for  this  work. 

It  is  no  slight  proof  of  the  ability  of  this  master, 
that  when  Michael  van  Coxis  of  Mechlin,  one  of 
the  greatest  artists  of  his  time,  was  asked  to  paint 
an  altar-piece  for  the  new  church  at  Amster- 
dam, he,  on  seeing  the  works  of  Pieter  Aartsen, 
declined  the  undertaking,  observing,  that  they  had 
no  occasion  for  his  exertions  when  they  pos- 
sessed such  a  painter.  Aansen  died  at  Amsterdam 
in  1573.  Many  good  works  by  him  were  destroyed 
by  the  Iconoclasts  in  1566 ;  the  following  are  his 
best  that  remain : 


Brussels.      Museum. 
Cassel.  Gallery. 

Vienna.        Jfuseum. 


The  Cook. 

Vegetables  and  Fruit. 
Market  Scene 


He  had  three  sons,  Pietek  (called  '  de  jonge'), 
Aebt,  and  DiRE,  and  a  grandson  Geebt,  who 
were  all  painters. 

AARTSZ,  KiJKAERT.  According  to  Van  Mander, 
this  painter,  the  son  of  a  poor  fisherman,  was 
bom  at  Wyck,  in  Korth  Holland,  in  1482.  He 
became  a  scholar  of  Jan  Mostaert,  the  elder,  a 
painter  at  that  time  in  some  repute  at  Haarlem. 
Under  that  master  he  made  surprising  progress, 
and  not  only  soon  surpassed  his  instructor,  but 
became  one  of  the  ablest  artists  of  his  time.  His 
first  works  on  leaving  the  school  of  Mostaert,  were 
two  pictures  painted  as  folding-doors  to  an  altar- 
piece  in  the  great  church  at  Haarlem,  wherein  he 
represented  two  subjects  from  the  history  of 
Joseph  and  his  brethren.  He  afterwards  settled 
at  Antweip,  and  was  received  into  the  Academy 
there  in  1520.  He  died  in  that  city  at  the  great 
age  of  95.  Aartsz's  works  are  for  the  most  part 
to  be  seen  in  Friesland. 

ABACCO,  Antonio  d',  was  a  scholar  of  Antonio 
da  San  Gallo,  an  eminent  architect  at  Rome,  where 
lie  followed  the  same  profession  with  reputation. 
In  the  year  1558,  he  published  a  valuable  archi- 
tectural work,  entitled  Lihro  dd  Antonio  d  Abacco, 
apparienente  a  V  architettura,  nel  quale  sijigurano 
alcuone  nobile  antichitd,  de  Homa,  with  fiie  prints 
engraved  by  himself.  He  also  engraved  the  plans 
of  St.  Peter  from  the  designs  of  his  master. 

ABARCA,  F.  A.  Eihenard  t.    See  Ethenaed. 

ABARCA,  Maria  de,  is  noticed  in  the  history  of 
painting  in  Spain,  as  having  distinguished  herself 
in  Madrid  as  a  paintress  of  miniatures  and  por- 
traits, which  were  much  admired,  even  at  a  period 
in  which  the  art  may  be  considered  to  have  reached 
its  highest  development  in  that  country,  in  the 
time  of  the  celebrated  Velazquez.  The  dates  of 
her  works  range  from  1640  to  1653,  and  she  died 
probablv  about  1656. 

ABATE  ANDREA,  L'.    See  Belvedere. 

ABATE  CICCIO,  L'.     See  Solimena. 

ABBATE  Family,  The  (of  Modena).  See  Dell' 
Abb-vik. 

ABBATI,  Giuseppe,  who  was  bom  at  Naples  in 
1836,  studied  first  under  his  father  Vincenzo,  a 
painter  of  that  town  ;  and  subsequently  in  the 
Academy  at  Venice.  He  excelled  in  genre  and 
architecture,  and  in  landscapes,  in  which  he  some- 
what resembles  Jules  Breton.  One  of  his  earliest 
works,  '  A  Dominican  singing  in  the  choir  of  Santa 
Maria  Novella,  Florence,'  was  painted  in  1865, 
and  received  much  praise  ;  it  is  now  in  the  Pina- 


coteca  of  Capodimonte  at  Naples.  In  1866  he 
took  part  as  a  volunteer  in  the  war  in  the  TjtoI. 
Of  his  works  we  may  mention  a  '  Peasant  Family 
taking  a  Siesta,'  one  of  his  best  pictures  ;  '  The 
Prayer,'  in  the  Galleria  Moderna,  Florence  ;  and 
the  '  Dominican,'  in  the  Modem  Gallery  of  Milan. 
Abbati  died  at  Florence  in  1868,  from  the  bite  of 
his  own  dog — his  constant  companion. 

ABBATINI,  GniDO  Ubaldo,  who  was  bom  at 
Citta  di  CasteUo  about  1600,  was  admitted  into 
the  Academy  at  Rome.  He  was  a  disciple  of 
Giuseppe  Cesari,  and  distinguished  himself  as  a 
painter  of  history  in  fresco.  One  of  his  principal 
works  is  the  ceiling  of  the  chapel  of  St.  Theresa,  in 
Santa  Maria  della  Vittoria,  at  Rome.  He  died  at 
Rome  in  1656. 

ABBE,    Hexdrik,    an   en-  _,    ^ 

graver, painter,  and  architect,  t-ps,^ '  p .  ^j~/\. 
was  christened  in  1639  in  the  •-  ■*■  ^  -»- 
cathedral  at  Antwerp,  in  which  city  some  prints 
by  him  were  published  in  1670.  He  is  also  noticed 
by  Heineken,  who  only  mentions  him  as  having 
made  some  designs  for  the  edition  of  Ovid's  Meta- 
mophoses  published  by  Barrier. 

ABBIATI,  FiLiPPO,  who  was  bom  at  Milan  in 
1640,  was  a  scholar  of  Carlo  Francesco  Nuvolone. 
Under  that  master  he  made  great  progress,  and 
proved  a  very  excellent  artist,  particularly  in 
fresco.  Fertile  and  bold  in  his  conceptions,  his 
execution  was  commanding  and  resolute.  In 
conjimction  with  Federigo  Bianchi,  he  painted 
the  cupola  of  Sant'  Alessandro  Martyre  at  Milan. 
One  of  his  best  works  was  '  St.  John  preaching  in 
the  Wilderness,'  at  Saronno.  He  painted  numerous 
altar-pieces  in  Padua,  Bergamo,  Turin,  Milan, 
and  other  cities  of  Italy.  He  died  at  Milan,  in 
1715. 

ABBIATI,  Giuseppe,  a  Milanese  designer  and 
engraver,  lived  in  the  beginning  of  the  18th 
century.  He  etched  some  small  prints  of  battles, 
and  an  allegorical  subject  from  his  o\vn  design. 

ABBIATI,  Paolo  IUrla.  The  name  of  this 
engraver  is  afSxed  to  a  portrait  of  Girolamo  Cor- 
naro,  procurator  of  St.  Mark.  It  is  without  a  date 
or  the  name  of  the  painter.  He  flourished  towards 
the  close  of  the  17  th  century ;  Zani  says  he  was 
born  at  Milan. 

ABBOT,  John  W.,  was  an  honorary  exhibitor  at 
the  Academy,  from  1793  to  1810.  He  painted 
landscapes  with  cattle  and  figures.  There  is  a 
small  etching  of  a  horse  inscribed  J.  Abbot,  dated 
1767.  He  also  illustrated  books  upon  American 
insects. 

ABBOTT,  Francis  Lemuel,  an  English  portrait 
painter,  was  bom  in  Leicestersliire,  in  1760.  He 
was  a  scholar  of  Francis  Hayman.  Without  the 
possession  of  much  taste,  he  acquired  some  reputa- 
tion for  the  faithful  resemblance  of  his  pictures, 
particularly  his  portraits  of  men,  which  some- 
times approach  to  excellence.  He  painted  a  por- 
trait of  Cowper  and  se%-eral  of  Lord  Nelson,  which 
were  much  admired  for  their  truth  to  nature.  A 
portrait  of  Joseph  Nollekens,  the  sculptor,  by  him 
is  in  the  National  Portrait  Gallery.  He  died  in 
1803. 

ABEL,  Gottlieb  Friedrich,  a  German  en- 
graver, who  was  bom  in  1763,  was  a  pupil  of 
Johann  von  Miiller.  He  was  engraver  to  the  King 
of  Wiirtemberg,  at  Stuttgart.  He  furnished  about 
125  plates  to  Reiter's  work  descriptive  of  the 
various  trees  of  Germany. 

ABEL,  Hans,  a  painter  of  Frankfort,  who  lived 


PAINTERS  AND  ENGRAVERS. 


about  1494,  is  supposed  to  have  painted  some 
of  the  beautiful  windows  which  adorn  the  cathe- 
dral and  several  churches  in  that  city.  He  also 
painted  banners. 

ABEL,  Joseph,  a  German  painter  of  great 
merit,  was  bom  at  Aschach  in  1768.  He  was  in- 
structed in  the  school  of  Fiiger  at  Vienna,  and  is 
said  to  have  distinguished  himself  at  an  early  age. 
He  was  employed  by  the  Czartoryski  family  in 
Poland,  and  visited  Rome  in  1802,  where  he  re- 
mained six  years,  and  produced  several  pictures, 
the  subjects  of  which  were  taken  from  the  Greek 
poets  and  ancient  historians,  and  which  gained 
him  great  applause.  Among  these,  were  '  Hector's 
Departure,'  and  'Andromache  on  Hector's  Corpse.' 
On  his  return  to  Vienna,  in  1808,  he  painted  por- 
traits, and  large  historical  compositions,  and  was 
also  employed  in  the  decorations  of  the  theatre. 
He  died  there  in  1818.  In  the  Darmstadt  Gallery 
is  his  '  Brutus  and  the  Relations  of  Lucretia  swear- 
ing to  be  revenged.' 

ABEL,  — .  Malvasia  mentions  this  as  the  name 
of  a  French  artist  who,  in  1650,  received  a  hundred 
Roman  crowns  for  a  copy  made  by  him  of  the 
'Communion  of  St.  Jerome,'  by  Domenichino. 
The  latter  had  been  paid,  a  short  time  previously, 
but  fifty  crowns  for  the  original.  It  is  to  be  re- 
gretted that  we  have  not  a  more  complete  account 
of  this  successful  copyist. 

ABEL  DE  PUJOL,  Alexandre  Denis,  was  bom 
at  Valenciennes,  in  1787.  He  evinced  early  a  taste 
for  art,  and,  by  his  father's  consent,  became  a  pupil 
of  David.  The  fortune  of  the  former,  however, 
being  dissipated  by  the  revolution,  the  son  had  for 
some  time  a  struggling  life,  being  left  by  his  master 
very  much  to  bis  own  resources.  His  first  painting 
represented  '  Philopoemen  recognized  whilst  split- 
ting wood  in  the  Kitchen  of  a  Friend  who  had 
invited  him  to  Dinner ; '  and  David  was  so  much 
struck  with  it,  that  he  gave  Abel  the  advantage  of 
free  admission  to  his  studio.  He  obtained  in  1806 
the  first  medal  at  the  Academy ;  in  1810  the  gold 
medal  of  the  second  class  for  his  picture  of  '  Jacob 
blessing  the  Sons  of  Joseph ; '  and  the  Prix  de  Rome 
for  his  painting  of '  Lyourgus  presenting  to  the  Lace- 
daemonians Charilaus  as  heir  to  the  Throne.'  The 
climate  of  Rome  not  agreeing  with  his  health,  he 
was  forced  to  return  to  Paris,  when  necessity  com- 
pelled him  to  mingle  sign-painting  with  a  more 
ennobling  application  of  his  talent.  In  1814  he 
exhibited  '  Britannicus,'  which  obtained  a  medal, 
and  is  now  in  the  Museum  at  Dijon;  in  1817,  '  St. 
Stephen  preaching  before  his  Martyrdom,'  painted 
for,  and  now  in,  the  church  of  St.  Etienne  du  Mont, 
Paris;  in  1819,  'The  Virgin  at  the  Tomb,'  '  Ca!sar 
in  the  Senate  at  the  Ides  of  March '  (purchased 
by  the  Duke  of  Orleans,  afterwards  King  Louis- 
Philippe,  and  destroyed  in  the  fire  at  the  Palais- 
Royal)  ;  and  '  Sisyphus  in  the  Infernal  Regions ; '  in 
1822, '  Joseph  explaining  the  Dreams  of  the  Butler 
and  Baker  of  Pharaoh,'  which  obtained  a  gold  medal 
at  Lille,  and  is  now  in  the  Museum  of  that  town ; 
'  Ixion  in  Tartarus,'  which  is  in  the  Imperial  Col- 
lection :  '  Germanicus  on  the  field  of  Battle,'  and 
'  The  Baptism  of  Clovis,'  which  is  in  the  cathedral 
of  Rheims.  He  also  in  1819  painted  the  '  Renais- 
sance of  the  Arts '  on  the  ceiling  of  the  staircase  of 
the  Louvre,  destroyed  in  the  course  of  the  alter- 
ations made  in  that  establishment  in  1856.  He  also 
painted  three  subjects  over  doors  at  Versailles,  and 
some  fine  frescoes  in  the  church  of  St.  Sulpice, 
Paris.  He  was  a  member  of  the  Legion  of  Honour, 
b2 


and  of  the  '  Institute,'  to  which  he  was  elected 
on  the  death  of  Baron  Gros.  He  died  at  Paris  is 
1861. 

ABELS,  Jacobus  Theodorus,  who  was  born  at 
Amsterdam  in  1803,  was  instructed  in  art  by  Jan 
van  Ravenswaay,  the  animal  painter.  In  1826  he 
visited  Germany,  and  on  his  return  settled  at  the 
Hague.  He  distinguished  himself  especially  in 
painting  moonlight  landscapes.  The  Museum  at 
Haarlem  has  works  by  him.  Abels  died  at  Ab- 
coude  in  1866. 

ABENTS,  Leonhard.     This  artist  was  a  native 
of  Passau,  in  Bavaria,  and  flourished  about  the 
year  1580.     He  engraved  the  plan  of  the      ^ 
city  of  Passau  for  Braun's  Topography.   He      A 
marked  his  plates  with  this  monogram.  '   ^ 

ABEREGNO,  Giacomo,  was  a  Venetian  painter 
who  flourished  about  the  year  1400. 

ABERLI,  JoHANN  LuDwio,  a  Swiss  painter  and 
engraver,  born  at  Winterthur,  in  1723,  was  a  pupil 
of  Felix  Meyer,  and  painted,  with  success,  portraits 
and  landscapes.  He  published  several  coloured 
prints  of  views  in  Switzerland,  which  have  been 
suflioiently  admired  to  give  birth  to  a  great  num- 
ber of  imitations.     He  died  at  Berne  in  1786. 

ABILDGAARD,  Nikolaj  Abraham,  son  and 
pupil  of  Soren  Abildgaard,  a  Danish  historical 
painter  of  great  merit.  He  was  born  at  Copen- 
hagen in  1744 ;  in  1767  he  received  the  great 
medal  at  the  Academy,  and  went  soon  afterwards 
to  Italy  ;  he  spent  most  of  his  time  in  Rome,  where 
he  copied  the  works  of  Raphael,  Michelangelo, 
and  Titian.  In  1777  he  returned  to  his  native 
country,  and  in  1786  was  made  professor  in  the 
Academy  at  Copenhagen,  of  which  he  was  director 
from  1802  until  his  death,  in  1809.  He  has  been 
considered  the  best  painter  Denmark  has  pro- 
duced.. His  principal  subjects  were  taken  from  the 
ancient  poets  ;  but  some  of  the  best  perished  in  the 
fire  that  consumed  the  palace  of  Christianburg  in 
1794.  Ftissli  relates  that  this  had  such  an  efiect 
on  his  mind  that  he  scarcely  ever  painted  after- 
wards. His  sketches  made  for  them  are  still  pre- 
served in  the  Copenhagen  Gallery,  which  contains 
besides  several  good  examples  of  his  art. 

ABILDGAARD,  SOren,  who  was  born  at  Chris- 
tianssand,  in  Norway,  in  1718,  studied  in  Copen- 
hagen, and  became  a  draughtsman  of  repute.  He 
executed  many  drawings  of  antiquities  in  Norway, 
Sweden,  and  Denmark. 

ABRAHAM,  Frere.     See  Gilson. 

ABRIL,  Juan  Alfonso,  was  a  native  of  Valla- 
dolid.  He  studied  under  Pablo  de  Cespedes  at 
Cordova,  and  afterwards  entered  a  convent.  He 
died  in  1645  at  Valladolid,  where  there  is  in  the 
Museum  a  '  Head  of  St.  Paul '  by  him,  brilhant  in 
colour,  and  in  good  taste. 

ABSHOVEN  (or  Abtshoven).     See  Apshoven. 

ABSOLON,  John,  was  born  at  Lambeth  in  1815. 
He  studied  under  Ferrigi  and  at  the  British  Museum, 
and  started  at  the  age  of  fifteen  painting  portraits 
in  oil.  He  was  next  employed  for  some  years 
under  the  well-known  Grieve  family  in  painting 
figures  and  other  parts  of  scenes  at  Drury  Lane 
and  Covent  Garden  Theatres.  His  first  exliibit, 
entitled  'A  Study  from  Nature,'  appeared  at  the 
Suffolk  Street  Gallery  in  1832.  In  1835  he  visited 
Paris,  and  having  exchanged  oil  for  water-colour, 
on  his  return  in  1839  exhibited  at  the  New  Water- 
Colour  Society  '  The  Savoyard  Boy  '  and  '  The 
First  Sup.'  He  became  a  member  of  this  Society 
the  same  year,  and  was  for  many  years  its  treasurer. 


A  BIOGRAPHICAL  DICTIONARY  OF 


In  1840  he  exhibited  'Singing  for  a  Wife,'  and  in 
1842  a  popular  picture  'The  Vicar  of  Wakefield 
in  Prison.'  In  successive  years  appeared  '  Paul 
and  Virginia'  (1843),  'The  Judgment  of  Midas' 
and  'Captain  Macheath  Betrayed'  (1844),  'Thread- 
ing the  Needle'  (1846),  'Plenty'  (1849),  'The 
First  Night  in  a  Convent '  (1853),  'The  Baptism  ' 
(1856),  'Tete-i-Tete'  (1860),  'Mile,  de  Saubreil' 
(1861),  'The  Courtship  of  Gainsborough'  (1863), 
'The  Beacon'  (1876)  and  '  Returning  from  Church' 
(1883),  which  now  belongs  to  the  Baroness  Burdett- 
Coutts.  His  early  study  of  scene  painting  led  him 
to  join  with  T.  Grieve,  'Telbin  and  others  in  the  pro- 
duction of  the  first  and  famous  diorama  '  The  Route 
of  the  Overland  Mail  to  India,'  which  appeared 
in  London  in  1850.  He  exhibited  several  pictures 
at  the  Academy,  among  them,  in  1857,  an  oil- 
painting  'Boulogne  1857'  which  attracted  much 
attention.  He  also  sent  works  to  the  British 
Institution  and  the  British  Artists'  Galleries. 
Many  of  his  drawings  were  engraved  and  otherwise 
reproduced  in  black  and  white  and  also  in  colours, 
and  were  in  their  day  exceedingly  popular.  He 
died  in  1895. 

ABTS,  WonTER,  was  bom,  it  is  said,  at  Lier, 
near  Antwerp,  in  1582.  He  was  admitted  as  a 
master  to  the  Guild  at  Antwerp  in  1604-5  ;  and  he 
died  in  1642-43.  He  excelled  in  painting  con- 
versation-pieces and  landscapes.  Adrian  de  Bie 
was  one  of  his  pupils.  (See  notice  by  Van  Lerius 
in  Meyer's  '  Kunstler-Lexikon.) 

ACCAMA,  Bebnardus,  a  portrait  painter,  born 
at  Leeuwarden  in  1697,  where  he  died  in  1756. 
His  works  were  much  esteemed  by  his  own  coun- 
trj-men,  but  are  little  known  elsewhere.  The  H6tel 
de  Ville  of  his  native  town  formerly  possessed 
several  good  pictures  by  him,  but  they  were  de- 
stroyed by  rioters  in  1795. 

ACCAMA,  Matthijs,  brother  of  Bemardus,  was 
bom  at  Leeuwarden,  in  1702.  He  went  to  Italy, 
where  he  copied,  with  considerable  talent,  several 
pictures  of  the  ancient  masters.  He  died  at  his 
native  town  in  1783.  He  painted  historical  and 
emblematical  subjects. 

ACCER.     See  Accius. 

ACCHILLINO,  a  Bolognese  painter,  flourished 
about  1324.  Verci  (Storia  Trevigiana)  says  that 
the  portrait  of  Can  Grande,  who  died  in  1329,  was 
painted  by  him. 

ACCIUS,  Cesare  Antonio  (or  Accer),  an 
Italian  landscape  painter,  lived  about  1609,  and 
was  considered  an  artist  of  talent,  but  his  works 
are  now  little  known.  Three  etchings  of  land- 
scapes by  Accius  are  mentioned,  one  of  which, 
noticed  by  Heineken,  bears  his  name  and  the 
date  1609. 

ACEVEDO,  Cristobal  de  (or  Acebedo),  an 
historical  painter,  who  was  born  probably  at 
Madrid  about  1540,  was  a  disciple  of  Bartolome 
Carducho  in  1585,  and  painted  pictures  for  many 
of  the  convents  in  the  capital.  The  nobleness  of 
his  characters,  and  his  purity  of  design,  placed  him 
among  the  good  artists  of  his  time.  He  painted 
large  subjects  of  sacred  history.  The  date  of  his 
death  is  unknown,  but  it  took  place  probably  about 
the  end  of  the  16th  century. 

ACEVEDO,  Manuel  (or  Acebedo),  who  was 
born  at  Madrid  in  1744,  was  a  disciple  of  Jose  Lopez, 
but  by  diligently  copying  the  works  of  the  best 
painters  he  soon  surpassed  his  master.  He  painted 
historical  and  religious  subjects,  and  was  much 
employed  in  Madrid.  Bermudez  mentions  a  '  John 
4 


the  Baptist '  and  a  '  St.  Francis '  by  him  in  the 
chapel  of  the  hospital  of  La  Latina  at  Madrid. 
He  died  in  1800. 

ACHARD,  Jean  Alexis,  painter  and  etcher,  was 
born  at  Voreppe  (Isfere),  June  8,  1807.  He  first 
appeared  at  the  Salon  in  1839,  with  a  '  View 
near  Cairo,'  after  which  he  contributed  a  number 
of  landscapes,  chiefly  French  in  subject.  His 
'View  near  Grenoble'  is  in  the  Luxembourg. 
Towards  the  close  of  his  life  he  devoted  himself 
mainly  to  etching.     He  died  October  6,  1884. 

ACHEN,  Arnadt  van.     See  Aken. 

ACHEN,  Johann  vo».    See  Aachen. 

ACHTERVELDT.     See  Ochterveldt. 

ACHTSCHELLINCK,  Lucas,  was  bom  at  Bms- 
sels,  and  baptized  on  the  16th  of  January,  1626. 
In  1639  he  entered  the  studio  of  Pieter  van  der 
Borcht,  but  it  was  not  until  1657  that  he  was 
admitted,  as  a  master,  to  the  Guild.  He  died  in 
Brussels  in  1699,  and  was  buried  in  that  city,  the 
scene  of  his  labours ;  and  there,  in  the  church  of 
SS.  Michael  and  Gudule,  in  the  town-hall,  and  in 
the  Museum,  remain  a  few  of  his  best  works.  His 
manner  is  broad  and  bold  ;  the  foliage  of  his  trees 
lightly  touched,  and  apparently  in  motion ;  his  forms 
and  scenery  are  grander  than  is  usual  in  the  works 
of  the  artists  of  his  coimtry  ;  and  his  distances 
recede  with  a  pleasing  degradation.  His  pictures 
hold  a  place  in  the  choicest  collections  in  the  Low 
Countries,  and  are  deservedly  admired.  The  Dres- 
den Gallery  has  two  landscapes  ascribed  to  him. 
Achtschellinck's  works  were,  it  is  said,  ornamented 
with  figures  by  G.  van  Oost,  L.  de  Deijster,  Pieter 
Bout,  and  other  painters.  Achtschellinck  had  a 
younger  brother,  Pieter,  who  was  also  a  painter. 

ACKER,  Jakob,  a  member  of  a  family  of 
artists  who  flourished  at  Ulm  in  the  15th  century, 
is  known  as  the  author  of  a  painting,  representing 
sacred  subjects,  on  the  side-wings  and  the  predeUa 
of  an  altar-piece  in  the  chapel  of  St.  Leonard, 
in  the  church-yard  at  Risstissen.  It  bears  his 
name  and  the  date  1483.  In  1473  he  decorated 
tlie  doors  of  the  organ-loft  at  Miinster,  in 
Swabia.  It  has  been  surmised  that  this  artist 
may  also  be  identical  with  a  glass-painter,  Jakob 
Acker,  who  flourished  in  Niirdlingen  in  the  15th 
century. 

ACKER,  Johannes  Baptist  a  van,  who  was  bom 
at  Bruges  in  1794,  studied  under  Ducq,  and  soon 
became  popular  as  a  miniature-painter.  In  1834 
he  went  to  Paris,  and  was  there  acknowledged 
as  one  of  the  best  artists  of  his  class.  After  his 
return  to  Bruges,  he  was  called  by  King  Leopold 
to  Brussels,  and  painted  numerous  miniatures  of 
the  royal  family  and  personages  of  the  court. 
After  a  journey  to  England,  Van  Acker  returned 
to  Bruges,  where  he  died,  in  1863. 

ACKERMANN,  Johann  Adam,  who  was  bom  at 
Mainz  in  1780,  and  studied  there,  visited  Paris, 
but  settled,  in  1804,  at  Frankfort.  He  paid  two 
visits  to  Rome.  His  winter  landscapes  gained 
him  much  praise.  Of  his  works  may  be  mentioned 
'  Auerbach,'  in  the  Darmstadt  Gallery.  He  died 
at  Frankfort  in  1853.  His  younger  brother, 
Georg  Friedbich  Ackeemaxn,  was  also  a  land- 
scape painter  of  repute.  He  was  born  at  Mainz 
in  1787,  and  died  at  Frankfort  in  1843. 

ACQUA,  B.  dell'  (or  Agua).    See  Dell'  Acqua. 

ACQUA,  C.  dall'  (or  Aqua).    See  Dall'  Acqua. 

ACQUARELLI,  — ,  was  a  Neapolitan  painter 
of  architecture,  of  great  merit,  who  flourished 
about   1640.     He  painted   ornamental  decoration 


PAINTERS  AND  ENGRAVERS. 


in   churches,  palaces,  and  theatres.      He  worked 
sometimes  in  conjunction  with  Sooppa. 

ACQDISTABENE,  Maestro,  a  painter  and  de- 
signer of  architecture,  who  was  bom  at  Brescia, 
flourished  about  1295. 

ADAM,  Albkecht,  a  German  painter,  chiefly  of 
battle-pieces,  was  born  at  Nordlingen,  in  Ba-  ^ 
varia,  in  1786.  He  accompanied,  in  1809,  the  yA 
French  and  Bavarian  army  against  Austria, ■"»*• 
and  in  1812  went  with  the  Grand  Army  in  the  ex- 
pedition against  Russia,  an  officer's  rank  being 
conferred  upon  him,  with  the  title  of  '  Painter  to 
the  Court.'  Some  of  his  most  efEective  pictures 
represent  the  incidents  of  that  most  disastrous 
campaign ;  as,  '  The  Battle  on  the  Moscowa,'  '  Napo- 
leon surrounded  by  his  Stafl:.'  In  1859  he  set  out 
with  one  of  his  sons  to  the  Italian  campaign  of 
France  and  Sardinia  against  Austria,  which  ended 
with  the  Battle  of  Novara,  of  which  he  has  left 
several  graphic  records,  besides  a  series  of  large 
pictures  painted  from  his  first  sketches,  by  com- 
mand of  the  Emperor  Napoleon  III.  His  last 
great  work,  a  commission  from  King  Maximilian 
of  Bavaria,  has  for  a  subject  the  decisive  charge 
of  the  Prussian  cavalry  against  a  square  of  the 
enemy  at  the  battle  of  Zorndorf,  where  Frederick 
the  Great  commanded  in  person.  Adam  also 
painted  portraits  and  landscapes,  and  occasionally 
etched.  His  works,  less  imaginative  and  dashing 
than  those  of  Horace  Vernet,  are  remarkable  for 
their  historical  truthfulness,  as  well  as  for  their 
accuracy  of  detail.  He  died  at  Munich  in  1862. 
Albrecht  Adam  also  produced  many  etchings  and 
lithographs.  Amongst  others  of  his  works  may  be 
noticed : 

Berlin.     Nat.  Gall.    A  Stable  {signed  and  dated  1825). 
„  „         „        The  Battle  of  Abeusberg  {signed  and 

dated  1826). 
„  „        ,,        Interior    of    the    Painter's    Studio 

{signed  and  dated  1835). 
Cassel.     Gallery.        A    Wounded    General    {signed  and 

dated  1826). 
Darmstadt.  Gallery.   Horses  at  Pasture. 
Munich.  Pinakothek.  The  Storming  of   the   Diippell  Re- 
doubt. 
„  „  The  Battle  of  Custozza. 

„  „  The  Battle  of  Novara. 

„  „  Two  Men  and  a  Horse. 

Munich.  Pinakothek.  A  Stable. 

„  „  Cavalry  Encamped. 

„  „  Equestrian  Portrait  of  Field-Marshal 

Count  Radetzky. 

ADAM,  Franz,  a  German  painter  of  horses, 
equestrian  portraits,  and  battle-pieces,  was  born 
at  Milan,  May  4,  1815,  and  was  the  pupil  of  his 
father,  Albrpclit  Adam.  He  practised  chiefly  at 
Vienna  and  Munich.  He  served  with  the  Austrian 
army  in  the  campaigns  of  1849  and  1859,  and 
made  innumerable  sketches  of  life  in  the  field, 
many  of  which  he  afterwards  used  for  pictures. 
He  was  a  member  of  the  Academies  of  Munich 
and  Vienna,  and  gained  medals  in  Paris  and 
Berlin.     He  died  September  29,  1886. 

ADAM,  Geoeg,  who  was  born  in  1784,  was  a 
designer,  engraver,  and  painter  of  landscapes.  In 
Munich,  acquainted  with  the  most  distinguished 
painters  of  landscapes,  he  improved  rapidly  in  this 
art ;  and  he  several  times  visited  the  Tyrol.  He 
was  one  of  the  most  fertile  engravers,  and  his 
works,  mostly  landscapes  and  views,  are  of  merit. 
He  died  at  Nuremberg  in  1823. 

ADAM,  Hans,  a  designer  and  engraver  of 
Nuremberg,  flourished  about  1560.     A  print,  en- 


titled 'A  Representation  and  Description  of  the 
Battle  of  Silbershausen,'  one  of  several  ascribed 
to  him,  bears  the  mark  of  a  figure  of  Adam  naked 
standing  by  a  tree,  and  also  the  letters  H.  A.  He 
is  said  to  have  died  in  1567. 

ADAM,  Heineich,  a  brother  of  Albrecht  Adam, 
was  born  at  Nordlingen  in  1787.  He  studied  the 
art  of  painting  at  Augsburg  and  Munich,  and  dis- 
tinguished himself  as  a  painter  of  landscapes  and 
as  an  engraver.  In  1811  he  stayed  with  Albrecht 
at  the  Lake  of  Como,  and  painted  in  water-colours. 
He  also  engraved  six  hunting-pieces,  after  his 
brother  Albrecht,  at  Milan,  in  1813.  Subsequently 
he  painted  landscapes  and  views  of  towns,  which 
are  executed  with  great  truthfulness.  He  died  at 
Munich  in  1862.  In  the  Pinakothek  there  are  by 
him  a  '  View  of  the  Marienplatz  in  Munich '  sur- 
rounded by  14  smaller  views,  and  a  '  View  of  the 
Max-Joseph-Platz,'  also  surrounded  by  14  smaller 
views. 

ADAM,  Jakob,  an  engraver,  bom  at  Vienna  in 
1748,  was  brought  up  in  the  Academy  in  that 
city.  In  conjunction  with  his  countryman,  Joharm 
Ernst  Mansfeld,  he  made  himself  known  by  a 
series  of  portraits  of  the  distinguished  personages 
of  Austria,  published  at  Vienna,  which  are  exe- 
cuted with  great  neatness  and  finish ;  of  these, 
that  of  the  Empress  Maria  Louisa  is  accounted 
the  best.  He  also  executed  the  plates  for  a 
Pictorial  Bible,  or  '  Bilderbibel'  (1803),  which 
gained  him  considerable  credit.  He  died  in  Vienna 
in  1811. 

ADAM,  Jean  Victor,  a  French  painter  and 
lithographer,  born  at  Paris  in  1801,  was  the  son  of 
Jean  Adam,  an  esteemed  engraver.  During  the 
years  1814  to  1818  he  studied  at  the  Ecole  des 
Beaux-Arts,  and  also  in  the  ateliers  of  Meynier 
and  Regnault.  In  1819  he  exhibited  '  Herminia 
succouring  Tancred.'  He  was  almost  immediately 
afterwards  employed  to  paint  various  subjects  for 
the  Museum  at  Versailles,  amongst  which  are,  'The 
Entry  of  the  French  into  Mainz,'  'The  Battle  of 
Varroux,'  'The  Taking  of  Menin,"The  Battle  of 
Castiglione,'  'ThePassageof  theCluse,'  'The  Battle 
of  Montebello,'  'The  Capitulation  of  Meiningen;' 
the  last  three  in  association  with  Alaux.  He  also 
exhibited  down  to  the  year  1838:  'Henry  IV., 
after  the  Battle  of  Coutras,'  '  Trait  of  Kindness  in 
the  Duke  de  Berri,'  '  The  Postillion,'  '  The  Vivan- 
diere,'  'The  Road  to  Poissy,'  'The  Return  from 
the  Chase,'  '  Horse-fair  at  Caen,'  and  numerous 
other  subjects.  He  then  retired  from  publicity, 
till  1846,  when  he  appeared  as  the  exhibitor  of 
some  works  in  lithography,  to  which  branch  of 
art  he  afterwards  restricted  himself.  In  this  line 
he  produced  a  lithographic  album,  '  Views  in  the 
Environs  of  Paris,'  '  Studies  of  Animals  for  an 
edition  of  BufEon,'  &c.  He  obtained  a  gold 
medal  in  1824,  a  second  class  medal  in  1836, 
besides  ■  several  others  from  Lille,  Douai,  and 
other  cities.     He  died  at  Viroflay  in  1867. 

ADAM,  John,  was  an  English  engraver  in  the 
latter  part  of  the  18th  century,  who  engraved  for 
Caulfield's  'History  of  Remarkable  Characters 
from  the  time  of  Henry  VIII.  to  James  II.,'  and 
Herbert's  'Biography  of  Scottish  Personages  of 
Distinction.'  He  also  engraved  the  portraits  of 
Queen  Elizabeth,  and  Robert  Dudley,  Earl  of 
Leicester,  after  F.  Zucchero. 

ADAM,  Joseph  Denovan,  was  born  at  Glasgow 
in  1842.  He  spent  his  early  years  in  London, 
where  he  received  his  first  tuition  in  art  under  his 

5 


A  BIOGRAPHICAL  DICTIONARY  OF 


father,  a  landscape  painter,  and  subsequently  studied 
at  Kensington.  After  several  sketching  tours  in 
Scotland  he  settled  there  in  1871.  Previously, 
however,  his  works  had  appeared  at  the  Royal 
Scottish  Academy — first  in  1868.  He  was  elected 
an  associate  of  that  body  in  1884,  and  a  full 
member  in  1892.  In  1887  he  established  a  school 
for  animal  painting  at  Craigmill,  near  Stirling. 
Adam  possessed  great  skill  as  a  painter  of  sheep 
and  Highland  cattle,  and  is  represented  at  the 
National  Gallery  of  Scotland  by  his  diploma  work 
'  Evening — Strathspey,'  which  appeared  at  the 
Royal  Scottish  Academy  in  1892,  and  at  the  Paris 
Salon  in  1894.  Latterly  he  exhibited  occasionally 
both  at  Paris  and  Munich.  He  died  at  Glasgow 
in  1896. 

ADAM,  P.,  an  Englis!i  engraver,  who  flourished 
about  the  year  1690,  executed  a  few  etchings  of 
landscapes  in  a  tasteless  style.  In  one  of  them, 
which  is  engraved  in  the  manner  of  Mellan,  with- 
out any  cross  hatchings,  a  iigure  is  represented 
seated  on  a  bank.  He  usually  signed  — ^  --j 
his  plates  with  his  name — the  letters  /p  hi 
P  and  A  being  joined  together.  '  ^^  ' 

ADAM,  Peter,  a  German  engraver,  flourished 
about  1730.  Heineken  mentions  sis  landscapes  by 
a  master  of  this  name,  probably  the  same.  He  is 
also  supposed  to  have  painted  some  pictures, 
which  have  the  same  monogram  as  the  prints. 

ADAM,  Robert,  the  son  of  an  architect,  was 
bom  at  Kirkcaldy,  in  Fifeshire,  in  1728.  After  he 
had  received  a  good  education  at  Edinburgh,  his 
father  sent  him  to  study  the  fine  specimens  of 
Roman  architecture  in  Italy,  where  he  remained 
several  years.  On  his  return  to  England,  he  was 
appointed  architect  to  the  king.  He  died  in  Lon- 
don in  1792.  During  his  residence  on  the  Conti- 
nent he  had  made  drawings  of  the  famous  Palace 
of  Diocletian,  at  Spalatro  in  Dalmatia,  and  in  1764 
published,  in  conjunction  with  CMrisseau,  a  volume 
in  folio,  entitled  '  Ruins  of  the  Palace  of  Diocle- 
tian, at  Spalatro  in  Dalmatia,'  with  sixty-one  well- 
engraved  plates  from  his  designs. 

ADAMI,  PiEXBO,  bom  at  Rome,  excelled  in 
marine  subjects  ;  he  painted  about  the  year  1730  ; 
little  else  is  known  of  his  history. 

ADAMO  TEDESCO.     See  Elsheimer. 

ADAMS,  Charles,  is  mentioned  by  Heineken 
as  the  engraver  of  an  equestrian  portrait  of  Charles 
I.  of  England. 

ADAMS,  Robert,  an  architect  and  engraver, 
was  bom  in  London  in  1540.  His  eminence  in  his 
profession  procured  him  the  situation  of  surveyor 
of  the  works  and  architect  to  Queen  Elizabeth. 
He  made  a  set  of  drawings  representing  the  battles 
between  the  English  fleet  and  the  Spanish  Armada, 
which  were  engraved  by  Augustus  Ryther,  and 
published  in  1589  ;  they  have  now  become  scarce. 
Adams  died  in  1595. 

ADDA,  Francesco,  Conte  d',  a  Milanese  amateur 
painter,  scholar  and  imitator  of  Leonardo  da  Vinci, 
painted  small  pictures  on  panel  and  slate  for 
private  cabinets.  The  Conte  d'  Adda  died  in 
1560. 

ADLER,  Philipp,  born  at  Nuremberg  in  1484, 
is  called  (erroneously)  by  Florent  le  Corate,  Adler 
Paticina.  He  mentions  a  plate  by  him  of  '  Si. 
Christopher  carrying  the  Infant  Jesus,'  dated  1518. 
The  print,  described  by  Strutt  as  his  best  per- 
formance, represents  an  altar,  with  the  Virgin 
Mary  crowned,  and  a  female  Saint  holding  the 
Infant  Christ ;  it  was  engraved  by  David  Hopfer, 

6 


whose  mark,  when  the  print  is  perfect,  is  at  the 
bottom  of  the  plate.  The  inscription  on  the  tab- 
let. Hoc  OPUS  FECIT  Philipus  Adi.er  Patkicius, 
MDXVlll.,  most  probably  relates  to  the  altar  having 
been  erected  by  Philipp  Adler.  In  the  print 
Stmtt  had  seen,  the  mark  of  Hopfer  had  probably 
been  cut  off. 

ADMIRA  AL,  B.,  was  a  Dutch  painter,  who  flour- 
ished in  1662,  *s  appears  by  a  picture,  with  the 
name  and  date,  representing  the  entrance  to  a 
city,  with  numerous  figures,  many  of  them  in 
Oriental  costume  ;  the  style  is  similar  to  that  of 
Weenix  and  Thomas  Wyck,  but  displays  a  less 
delicate  pencil  than  either. 

ADOLFFZ,  — .  By  this  engraver,  who,  from 
his  name,  appears  to  have  been  a  native  of  Ger- 
many, we  have  a  portrait  of  the  Due  de  Biron, 
Marshal  of  France,  on  horseback.  It  has  now 
become  scarce. 

ADOLFI,  CiBO,  the  younger  brother  of  Giacomo, 
was  bom  at  Bergamo  in  1683,  and  was  instructed 
by  his  father  Benedetto  Adolfi.  He  possessed  a 
more  fertile  genius  than  his  brother,  and  a  greater 
facility,  and  distinguished  himself  by  some  con- 
siderable fresco  paintings  in  the  public  edifices 
in  the  city  of  Bergamo,  and  in  the  state.  He  died 
in  1758.    His  principal  works  are: 

Bergamo.  S.  A  lessandro  d.  Croce.  Four  Evangelists. 

„         S.  Maria  d.  Gra:ie.      Deposition  from  the  Cross. 
Colognola.  Parish  Church.         Decollation  of  St.  John. 

Another  brother,  of  the  name  of  Nicola,  painted 
battle-pieces  ;  his  death  is  not  recorded. 

ADOLFI,  Giacomo,  was,  according  to  Tassi, 
bom  at  Bergamo  in  1682.  He  was  the  son  of 
Benedetto  Adolfi,  a  painter  little  known,  and  had 
not  the  advantage  of  any  instruction  superior  to 
that  of  his  father.  He  painted  historical  subjects. 
Amongst  several  of  his  works  in  the  churches  at 
Bergamo,  his  picture  of  the  'Crowning  of  the  Vir- 
gin,' in  the  church  of  the  monastery  Del  Paradise, 
is  esteemed  one  of  his  best  productions.  '  The 
Adoration  of  the  Magi,'  in  the  church  of  Sant' 
Alessandro  della  Croce,  is  another  admired  picture 
by  this  master.     He  died  in  1741. 

ADONE.     See  Doni. 

ADONIS.     See  De  Bruijn,  Coenelis. 

ADRIAENS,  Ldcas  (or  Adriaenssson),  a  native 
of  Antwerp,  was  admitted  into  the  Guild  of  St. 
Luke  in  1459,  and  five  times  held  the  post  of 
dean  to  the  society.  He  co-operated  in  the  cele- 
brated '  Entremets '  at  Bruges  in  1468.  He  died 
about  1493. 

ADRIAENSSEN,Alexandee, 'the  elder,'  a. 
was  born  at  Antwerp,  in  1687.  He  studied  /*\ 
under  Artus  van  Laeck,  and  in  1597-98  -^*-^ 
entered,  as  a  scholar  of  that  master,  the  Guild  of 
Painters  at  Antwerp,  of  which  company  he  be- 
came a  free  member  in  1610-11.  Adriaenssen 
worked  at  Antwerp,  and  there  enjoyed  the  friend- 
ship of  Van  Dijck,  who  painted  his  portrait,  which 
has  been  engraved  by  Anton  van  der  Does.  He 
died  in  his  native  city  in  1661,  and  was  buried 
in  the  church  of  St.  James. 

The  subjects  of  his  pictures  are  sometimes 
flowers  and  fruit,  which  he  grouped  and  arranged 
with  considerable  taste,  but  he  particularly  ex- 
celled in  the  painting  of  fish,  to  which  he  gave 
a  surprising  appearance  of  truth  and  nature ; 
representing  them  with  a  freshness  and  glittering 
effect  of  colour  that  produces  perfect  illusion. 
His  works  in  this  way,  which  are  highly  finished 


PAINTERS  AND  ENGRAVERS. 


and  well  coloured,  are  deservedly  esteemed.  The 
Berlin  Gallery  has  three  splendid  examples  of  his 
art ;  two  are  signed,  and  one  of  them  bears  the 
date  1647.  His  works  are  also  found  in  the  Gal- 
leries of  Madrid  and  Antwerp,  and  in  private 
collections  on  the  Continent. 

ADRIAENSSEN,  Alexander,  'the  younger,' 
a  painter  of  still-life,  was  born  at  Antwerp  in  1625, 
and  died  there  in  1685.  In  the  records  of  the 
Antwerp  Guild  are  found  several  other  Adriaens- 
sens,  but  they  are  of  no  great  account.  (See 
Meyer's  I^unstler-Lexikon. ) 

ADRIANO,  a  Spanish  monk  of  the  order  of 
Barefooted  Carmelites,  born  at  Cordova,  was  a 
pupil  of  Pablo  de  Cespedes.  Pacheco,  who  knew 
him,  speaks  of  him  as  a  great  artist ;  and  Palomino 
states  that  his  convent  possessed  for  a  long  time  a 
'  Magdalene '  by  this  master,  which  was  considered 
worthy  of  Titian.  His  paintings  are  rare,  as  he  was 
in  the  habit  of  destroying  them  as  soon  as  finished, 
from  a  modest  opinion,  very  uncommon  to  artists, 
of  their  inferiority.  Some  fine  ones,  however,  were 
preserved,  through  the  intercession  of  his  friends. 
He  died  in  1601. 

AEKEN,  HiEEONYMUS  VAN,  commonly  known 
as   Jerom   Bosch  ^_^^  .^^ 

(or  Bos)  from  his  '^^>i^  \  . '^ 
birthplace  Her-  ^  O/cb  ^  ^ 
togenbosch(Bois-  /-aS<i>2Si 
le- Due),  was  bom  ^ — ?«^-a--5>"a 
between  the  years  1460  and  1464.  Passavant, 
writing  in  1860,  says  1450.  That  he  visited  Spain, 
as  has  often  been  asserted,  is  sometimes  doubted, 
and  at  all  events  he  did  not  make  a  very  long 
stay  there.  In  1493  or  1494  he  made  a  drawing 
for  a  window  in  the  church  of  St.  John  at  Eer- 
togenbosch,  for  which  he  also  executed  various 
paintings ;  and  he  was  later  employed  by  Duke 
Philip  le  I5el.     He  died  at  his  birthplace  in  1518. 

Van  Aeken  made  a  whimsical  choice  of  subjects 
for  his  pictures,  which  are  generally  grotesque  re- 
presentations of  spectres,  devils,  and  incantations, 
which,  however  ridiculous,  are  treated  with  singu- 
lar ingenuity.  He  painted  a  few  pictures  of  a  more 
serious  cast,  among  which  were  the  '  Flight  into 
Egypt,'  and  '  Christ  bearing  His  Cross,'  in  the 
church  of  Bois-le-Duc,  which  Karel  van  Mander 
speaks  of  in  very  favourable  terms.  One  of  his 
most  singular  compositions  was  a  picture  repre- 
senting '  Our  Saviour  delivering  the  ancient  Patri- 
archs from  Hell.'  Judas,  in  attempting  to  escape 
with  the  elect,  is  seized  on  by  devils,  who  are  in 
the  act  of  hanging  him  in  the  air.  A  '  Last  Judg- 
ment' by  him,  is  in  the  Berlin  Gallery,  and  a  '  St. 
Anthony  '  in  the  Antwerp  Museum  ;  and  the  Madrid 
Museum  contains  several  of  his  works.  It  is  said 
that  Philip  II.  of  Spain  so  much  admired  Van 
Aeken's  painting,  that  he  had  an  altar-piece  by  him 
perpetually  in  his  oratory.  The  engravings  which 
were  formerly  ascribed  to  him  are  now  known  to 
have  been  done  by  Alaert  du  Hameel  and  other 
masters,  from  Bosch's  designs.  The  following  are 
a  few  of  them : 

The  Temptation  of  St.  Anthony;  a  large  woodcut, 
engraved  four  years  after  his  death  ;  dated  1522. 

The  Last  Judgment ;  Christ  appears  in  the  air,  seated  on 
a  rainbow,  and  on  each  side  of  him  are  two  angels 
sounding  trumpets,  with  labels  bearing  the  inscrip- 
tion ;  Hac  est  dies  quern  fecit  dominus ;  Surgits 
mortui,  venite  ad  judicium.  At  the  bottom  of  the 
print  are  small  figures  of  men  and  devils  of  all  shapes 
intermixed. 

St.  Christopher  carrying  the  Infant  Jesus  across  a  river, 


and  a  hermit  with  a  lantern.  Eugravedoncopper;  very 
curious  on  account  of  the  innumerable  monstrous 
creatures  swarming  in  the  water.    A  very  rare  print. 

Constantine  at  the  head  of  his  army,  an  Angel  showing 
him  the  Cross  in  the  sky. 

The  Baptism  of  Christ  by  St.  John. 

An  Assemblage  of  grotesque  figures;  inscribed  Al  dat 
op,  ^-c. 

A  similar  subject ;  inscribed  Dcse  Jeron.  Bosch  drollen. 

W.  B.  S. 

AELS,  N.  The  name  of  this  engraver  is  affixed 
to  a  print  representing  St.  Joseph  leading  the 
Infant  Jesus  by  the  hand,  with  a  landscape  back- 
ground. 

AELST,  Evert  van,  who  was  born  at  Delft  in 
1602,  excelled  in  painting  birds,  dead  game,  armour, 
vases  of  gold  and  silver,  and  similar  subjects. 
He  sometimes  represented  these  objects  on  a  clear 
or  white  ground,  in  a  manner  that  produced  a 
singularly  natural  effect.  All  his  works  are  care- 
fully finished,  his  style  is  clean  and  flowing,  and 
he  disposed  the  inanimate  objects  he  represented 
in  a  very  pleasing  and  picturesque  manner.  He 
died  at  Delft  in  1658.  Pictures  by  him  are  in  the 
Galleries  at  Dresden  and  Berlin,  and  the  UfEzi, 
Florence. 

AELST,  Nicolaus  van,  was  born  at  Brussels 
about  the  year  1527.  At  an  early  age  he  estab- 
lished himself  at  Rome,  where  from  1550  to 
1612  he  carried  on  a  considerable  commerce  in 
prints.  The  names  of  the  painter,  and  the  engraver 
of  the  plates,  executed  for  his  collection,  were 
frequently  omitted,  and  his  own  inserted,  with  the 
word  forniis,  to  denote  that  he  wag  the  publisher. 
It  is,  however,  suflBciently  proved  that  he  some- 
times used  the  graver,  as  we  have  several  plates 
in  which  the  word  fecit,  or  sculpsit,  is  added  to  his 
name.  Heineken  notices  a  set  of  twelve  plates  of 
birds  engraved  by  this  artist. 

AELST,  Patjwel  van.    See  Koeck,  P.  van. 

AELST,  WiLLEM  van,  the  son  of  a  notary,  was 
born  at  Delft  in  1620.  He  was  the  nephew  of  Evert 
van  Aelst,  by  whom  he  was  instructed  in  art.  He 
passed  four  years  in  France  and  seven  in  Italy, 
and  the  polish  and  exquisite  finish  of  his  works 
rendered  them  extremely  popular  in  both  coun- 
tries. The  Grand  Duke  of  Tuscany  employed  his 
talents  for  some  time,  and,  as  a  mark  of  his  favour 
and  approbation,  presented  him  with  a  gold  chain 
and  medal.  He  returned  to  Holland  in  1656,  and, 
after  spending  some  time  in  his  native  Delft,  he 
settled  at  Amsterdam,  where  his  pictures  were  so 
much  admired  that  he  could  with  difiSculty  satisfy 
the  demands  for  his  works  ;  and  at  a  sale  which 
took  place  shortly  after  his  death  his  pictures  real- 
ized comparatively  large  sums.  He  died  in  that 
city  in  1679.  He  is  said  to  have  imparted  instruc- 
tion to  the  celebrated  Rachel  Ruisoh  ;  she  was, 
however,  only  fifteen  at  the  time  of  his  death. 
Willem  van  Aelst,  from  his  long  residence  in 
Italy,  acquired  the  habit  of  signing  his  name  in 
the  language  of  that  country :  viz.  Guilielmo  (or 
more  frequently  Guill"".)  van  Aelst.  His  pictures, 
like  those  of  his  uncle,  represent  fish,  dead  game, 
and  still-life ;  they  are,  however,  much  more 
neatly  finished,  and  are  even  more  precisely 
wrought  up  than  the  highly-valued  works  of 
Weenix.  Some  of  them,  even  signed  ones,  have 
been  attributed  to  his  uncle  Evert — one  signed 
W.  Vaelst,  in  the  UfSzi  Gallery,  and  two  at  the 
Hague,  bearing  the  name  of  GuiLL"".  van  Aelst, 
and  dated  respectively  1671  and  1663.  Other  good 
works  by  Willem  van  Aelst  are  in  the  Galleries  of 

7 


A  BIOGRAPHICAL  DICTIONARY  OF 


Berlin,  Dresden,  Munich,  and  Copenhagen,  and  in 
the  Pitti  Palace  at  Florence.  Van  Aelst  was  called 
by  the  Italians  Guglielmo  d'Olanda. 

AENAE,Petrus  (also  written  Aene  and  Aeneae), 
a  German  engraver  in  mezzotint,  flourished  in 
Friesland  from  about  1680  to  1700.  He  was 
chiefly  employed  in  portraits  ;  and,  among  others, 
engraved  that  of  Nicolaus  Blankard,  Profess,  a 
Frank,  ^t.  68  (P.  Aeneae,  fecit  et  execudit)  ;  and 
those  of  numerous  personages  of  the  royal  family 
of  Nassau. 

AEBTSEN,  Pieter.    See  Aartsen. 

AERTSZ,  RiJKAERT.     See  Aartsz. 

AETION,  who  is  not  noticed  by  Pliny,  is  men- 
tioned by  Lucian  in  conjunction  with  Apelles, 
Euphranor,  and  Polygnotus,  as  the  most  successful 
of  the  ancient  Greek  painters  in  the  mixing  and 
la3rLng  on  of  colours.  Action  flourished  about 
the  time  of  Hadrian  and  Antoninus  Pius,  a.d. 
117 — 161.  Lucian  mentions  a  graceful  picture 
by  him,  representing  '  The  Nuptials  of  Alexander 
with  Roxana,'  which  was  exhibited  at  the  Olympic 
games,  and  excited  such  admiration  that  Proxe- 
nidas,  one  of  the  judges,  exclaimed  in  the  midst 
of  the  assembly,  "  I  reserve  crowns  for  the  heads 
of  the  Athlet<e,  but  I  give  my  daughter  in  mar- 
riage to  the  painter  Aetion,  as  a  recompense  for 
his  inimitable  picture."  From  the  description  of 
this  painting,  written  by  Lucian,  Raphael  is  said 
to  have  made  a  design,  executed  in  fresco  in  the 
summer-house  in  the  garden  of  the  Villa  Borghese, 
Bome. 

•  AFANAS'EV,  Kokstantin  Jakovlevich,  a  Rus- 
sian engraver,  was  bom  at  St.  Petersburg  about 
1793.  In  1803  he  entered  the  Academy,  where 
he  studied  under  Klauber  and  Utkin.  In  1818, 
during  his  stay  at  the  castle  of  Pavlovsk,  he  en- 
graved several  landscapes  for  the  album  of  the 
Dowager  Empress  Maria  Feodorovna.  On  his 
return  to  St.  Petersburg  he  soon  became  famous, 
and  could  scarcely  execute  the  many  commissions 
he  received.  In  1839  he  was  made  a  member  of 
the  Academy.  Afanas'ev  was  the  first  Russian 
artist  who  engraved  on  steel,  and  his  engravings, 
which  are  mostly  portraits,  and  executed  with 
great  neatness,  gained  him  considerable  renown. 
He  died  in  1857. 

AFESA,  PiETRO.  This  painter  was  called  Della 
Basilicata,  from  his  being  a  native  of  the  province 
of  that  name,  in  the  kingdom  of  Naples.  He 
flourished  about  the  year  1650.  Dominici,  in  his 
'Lives  of  the  Neapolitan  Painters,' mentions  him  in 
very  favourable  terms.  His  works  are  preserved 
in  many  of  the  churches  and  convents  at  Naples. 
In  the  chapel  of  tlft*'"66nvent  of  Marsico  Nuovo, 
in  that  city,  is  an  altar-piece  by  him,  representing 
the  '  Assumption  of  the  Virgin  Mary,'  which  is 
highly  esteemed.  ■' 

AFFDKUCK.     See  De  Hedsch. 

AFFLITTI.     See  FERRAjnoLl. 

AGABITO,  Pietro  Paolo,  painter,  sculptor, 
and  architect,  who  was  bom  at  Sassoferrato, 
flourished  from  1511  to  1531.  His  style  was 
influenced  by  the  Venetian  school,  and  his  works 
are  executed  in  the  manner  of  Lorenzo  Lotto.  The 
churches  of  Sassoferrato  contain  several  of  his 
works,  among  which  may  be  mentioned  '  The 
Virgin  between  St.  Catharine  and  John  the  Bap- 
tist,' painted  in  1511  ;  and  one,  signed  Petbds 
Paulus  Agabiti  di  Saxoferrato,  MDXVIII.,  both 
in  Santa  Maria  del  Pano.  An  altar-piece  by  him, 
in  the  church  of  the  Padri  Riformali,  near  Jesi, 

8 


representing  the  Virgin  with  the  Infant,  is  con- 
sidered one  of  his  best  paintings.  He  died  at 
Massaccio,  where  he  had  settled.  (See  Meyer's 
'  Kunstler-Lexikon. ' ) 

AGAR,  Jacques  d',  a  portrait  painter,  was  bom 
at  Paris  in  1640.  He  studied  under  Ferdinand 
Vouet,  and  began  life  as  an  historical  painter,  but 
he  soon  abandoned  history  for  portraiture,  in  which 
branch  of  art  he  became  very  successful.  In  1675 
he  was  admitted  into  the  Academy,  and  he  became 
also  painter  in  ordinary  to  the  king  and  his  court. 
Upon  the  revocation  of  the  Edict  of  Nantes,  Agar, 
as  a  Protestant,  was  shut  out  from  the  Academy. 
He  accordingly  left  France  in  1682 — never  to  re- 
turn. He  was  invited  to  the  court  of  Denmark, 
and  was  greatly  patronized  by  King  Christian  V. 
Tlie  portrait  of  this  painter,  by  himself,  has  found 
a  place  in  the  Florentine  GaUery  of  Artists.  It  was 
painted,  in  1693,  by  request  of  King  Christian. 
Walpole  tells  us  that  he  visited  England,  where 
he  resided  some  time,  and  met  with  success.  He 
painted  the  portraits  of  several  of  the  nobility 
of  Queen  Anne's  reign ;  among  whom  were  the 
Duchess  of  Montagu,  the  Countesses  of  Rochfort 
and  Sunderland,  Thomas  Earl  of  Strafford,  and 
others.  A  portrait  of  Charles  II.  of  England,  by 
him,  is  said  -to  have  been  formerly  in  the  GaUery 
at  Christiansburg.  He  died  in  1716  at  Copen- 
hagen. 

AGAR,  John  Samuel,  was  an  Enghsh  portrait 
painter  and  engraver,  who  exhibited  his  works  at 
the  Royal  Academy  from  1796  to  1806.  He  was 
at  one  time  president  of  the  Society  of  Engravers. 
His  works  were  chiefly  in  stipple.  He  was  still 
living  in  1835. 

AGAS.     See  Aggas. 

AGASSE,  Jacques  Laurent,  a  celebrated  animal 
painter,  who  was  born  at  Geneva,  studied  for  some 
time  in  Paris,  came  to  London  about  1800,  and 
for  many  years  exhibited  his  works  at  the  Royal 
Academy.  Some  of  them,  including  six  land- 
scapes, were  engraved.     He  died  in  1846. 

AGELLIO,  Giuseppe.  ^^According  to  Baglioni, 
this  painter  was  a  native  of  Sorrento,  and  a  scholar 
of  Roncalli,  called  '  DeUe  Pomarance.'  He  ex- 
celled in  landscape  and  architecture,  and  was  em- 
ployed by  several,  of  his  contemporary  historical 
painters  to  paint  the  landscapes  in  the  backgrounds 
of  their  pictures.  He  flourished  at  Rome  about 
the  year  1620. 

AGGAS,  Ralph  (or  Agas),  was  a  draughtsman 
and  surveyor.  He  was  a  native  of  Stoke-by- 
Nayland,  in  Suffolk,  and  was  bom  probably  be- 
tween the  years  1540  and  1545.  He  published  a 
plan  of  Cambridge  in  the  year  1578,  and  one  of 
Oxford  in  1688.  He  also  prepared,  about  1591,  the 
large  plan  and  bird's-eye  view  of  London,  which 
was  engraved  on  wood,  and  pubUshed  in  1633. 
He  died  at  his  native  village  in  1621. 

AGGAS,  Robert,  was  an  Enghsh  landscape  and 
scene  painter,  who  was  employed  by  Charles  II. 
A  landscape  by  him  is  preserved  in  tlie  Painter 
Stationers'  Hall.     He  died  in  1679,  aged  about  60. 

AGHINETTI,  called  Gucao  del  Sero,  a  Flor- 
entine painter,  who  was  living  in  1331,  is  ranked 
among  the  best  artists  of  his  time.  He  had  a 
nephew,  called  Maestro  Guccio,  who  was  also 
eminent,  and  who  died  in  1409. 

AGI,  CoRDELLE  (or  Aghi).    See  Cordellb  Aqi. 

AGLAOPHON  is  a  name  shared  by  two  Greek 
painters,  who  are  supposed  to  have  been  grand- 
father and  grandson. 


PAINTERS  AND  ENGRAVERS. 


Aglaophon,  '  the  elder,'  was  a  native  of  Thasos 
and  flourished  about  500  B.  c.  He  is  famous,  as 
the  father  and  instructor  of  Polygnotus  and 
Aristophon.  Quintilian  mentions  "  the  simple 
colouring  of  Polygnotus  and  Aglaophon,"  as 
though  their  manners  were  similar.  No  work  can 
be  ascribed  to  either  of  the  two  artists  with  any 
certainty.  The  painting  of  the  '  Winged  Victory ' 
— mentioned  by  the  Scholiast  on  the  '  Birds '  of 
Aristophanes — is  supposed  to  be  by  the  elder 
painter,  though  it  has  also  been  ascribed  to  the 
younger. 

Aglaophon,  '  the  younger,'  flourished  about  416 
B.C.,  and  was  probably  the  son  of  Aristophon. 
Athenseus  mentions  that  lie  painted  two  pictures, 
in  one  of  which  Olympias  and  Pythias  were  re- 
presented crowning  Alcibiades,  and  in  the  other 
Nemea  held  Alcibiades  on  her  knees.  Cicero 
was  probably  speaking  of  him  when  he  says  that 
Aglaophon,  Zeuxis,  and  Apelles  were  all  different 
in  their  styles,  yet  each  one  was  perfect  in  his  own. 

AGLIO,  Agostino,  who  was  born  at  Cremona  in 
1777,  was  educated  at  Milan,  and  studied  at  the 
Brera.  In  1803  he  came  to  England  to  assist 
William  Wilkins,  R.A.,  the  well-known  architect, 
in  the  production  of  his  '  Antiquities  of  Magna 
Grsecia,'  which  was  published  in  1807.  For  many 
years  Aglio  was  employed  in  the  decoration  of 
theatres,  churches,  and  country  mansions  both  in 
England  and  Ireland.  Between  the  years  1820 
and  1830,  he  published  several  books  on  art,  the 
principal  of  which  were,  '  A  Collection  of  Capitals 
and  Friezes  drawn  from  the  Antique,'  and  '  Anti- 
quities of  Mexico,'  illustrated  with  upwards  of 
,1000  plates,  drawn  from  the  originals.  He  also 
painted  a  portrait  of  Queen  Victoria,  which  wa,8 
engraved.     He  died  in  1857. 

AGLIO,  Andeea-Salvatobe  di  Antonio  di 
Abzo,  bom  at  Lugano  in  1736,  a  painter  on  marble, 
who  is  said  to  have  been  the  first  who  discovered 
the  method  of  fixing  colours  on  that  material. 
He  died  in  1786. 

AGNELLI,  Federigo,  an  Italian  engraver  and 
printer,  who  flourished  at  Milan  about  the  year 
1700.  He  was  chiefly  employed  in  portraits, 
though  he  occasionally  engraved  emblematical 
and  architectural  subjects.  He  engraved  a  set 
of  plates  representing  the  '  Cathedral  at  Milan,'  to 
which  he  has  afiixed  his  name,  and  that  of  the 
architect,  Carlo  Butio. 

AGNEN.     See  Aeken. 

AGNES,  a  daughter  of  the  Margrave  Arnold 
of  Meissen,  and  Abbess  of  Quedlinburg  from 
about  1184  to  1205,  practised  successfully  the  arts 
of  engraving  and  miniature  painting. 

AGNESE.     See  Sant'  Agnese. 

AGNOLO,  Andrea  d'.     See  Andrea. 

AGNOLO,  Battista.    See  Angolo. 

AGNOLO,  Francesco,  was  a  Florentine  painter, 
who  flourished  about  1545. 

AGOSTINO  '  dalle  Prospettive  '  painted  at 
Bologna  about  1525.  He  was  very  skilful  in  aerial 
and  Uneal  perspective,  and  imitated  steps,  doors, 
,  and  windows,  so  perfectly  as  to  deceive  men  and 
brute  animals.  He  painted  a  piece  at  the  Car- 
mine, which  for  its  foreshortening  Lomazzo  in- 
stances, along  with  the  cupola  of  Correggio  at 
Parma,  as  a  model  of  excellence.  This  painter 
must  not  be  confounded  with  Agostino  di  Bra- 
mantino. 

AGOSTINO  di  SANT'  AGOSTINO.  See  Sant' 
Agostino. 


AGOSTINO  VENEZIANO.    See  Mnsis. 

AGOTY,  D'.     See  Gadtier. 

AGRESTI,  Livio.  This  painter  was  a  native  of 
Forli,  a  town  in  the  Roman  territory.  He  began 
to  work  about  1550.  He  studied  under  Perino 
del  Vaga  at  Rome,  and  was  employed  by  Pope 
Gregory  XIII.  in  the  great  works  that  were 
executed  by  order  of  that  pontiff  in  the  Vatican. 
In  the  grand  staircase  is  a  considerable  fresco 
painting  by  this  master,  representing  Philip  of 
Aragon  submitting  his  kingdom  to  the  dominion 
of  Pope  Eugenius  III.  Several  other  works 
of  Agresti  are  in  the  churches  and  public  places 
at  Rome.  In  Santa  Catarina  de'  Funari,  he 
painted  '  St.  Peter  and  St.  Paul,'  and  a  picture  of 
the  'Annunciation,'  and  in  one  of  the  chapels  of 
San  Spirito  in  Sassia  is  a  fine  altar-piece,  represent- 
ing '  the  Assumption  of  the  Virgin  Mary.'  His  best 
works  are,  however,  in  his  native  city  of  Forli. 
Rome  possesses  nothing  by  him  equal  to  the 
chapel  he  has  ornamented  in  the  cathedral,  where 
he  has  represented  the  '  Last  Supper,'  and  in  the 
vault,  some  admirable  figures  of  the  prophets.  He 
is  said  to  have  visited  Germany  and  worked  there, 
but  no  painting  by  him  is  known  to  exist  out  of 
Italy.  The  British  Museum  has  a  drawing  by 
Agresti  of  a  '  Last  Supper.'  He  died  at  Rome 
about  1580,  and  was  buried  in  San  Spirito  in 
Sassia. 

AGRICOLA,  Cheistoph  Ludwig,  a  painter  of 
portraits  and  landscapes,  was  born  at  Ratisbon 
in  1667.  He  studied  chiefly  from  nature,  though, 
while  in  Italy,  he  was  influenced  by  the  style  of 
Poussin.  Agricola  lived  several  years  in  Naples, 
and  some  of  the  views  which  lie  made  there 
have  been  brought  to  England.  He  died  at  his 
birthplace  in  1719.  His  landscapes,  which  are 
executed  in  a  masterly  manner,  frequently  contain 
figures  and  antique  buildings  and  ruins.  Land- 
scapes by  him  are  in  the  Galleries  of  Florence, 
Vienna,  Cassel,  and  Dresden,  and  in  the  Museum  of 
Brunswick,  which  also  possesses  his  own  portrait 
by  himself.  Amongst  the  engravings  by  him  is 
one  of  a  landscape,  into  which  he  has  introduced  the 
fable  of  Diana  and  Action.  It  is  signed  Agricola 
fecit.  Some  other  engravings  by  him  bear  merely 
his  initials,  C.  L.  A. 

AGRICOLA,  Filippo,  who  was  born  at  Urbino 
in  1776,  received  his  art-education  in  Rome  in  the 
Academy  of  St.  Luke,  of  which  institution  he 
became  president  in  1843.  He  formed  his  art  by 
studying  the  works  of  the  great  Italian  masters  of 
the  i6th  century,  and  of  the  antique  ;  and  he  was 
considered  one  of  the  best  painters  of  the  time  in 
Rome.  He  was  much  employed  in  decorating 
churches — San  Onofrio,  San  Giovanni  in  Laterano, 
and  others.  He  was  engaged  upon  works  for  San 
Paolo  f  uori  le  Mura  when  he  died  in  1 857.  Besides 
his  paintings  of  mythological  and  sacred  history, 
he  executed  numerous  portraits  of  great  merit ; 
amongst  others  those  of  the  '  Crown  Princess  of 
Denmark'  (1822),  and  the  'Countess  Perticari.' 
His  '  Petrarch  and  Laura,'  and  '  Dante  and  Bea- 
trice,' must  also  be  mentioned. 

AGRICOLA,  Karl  Joseph  Aloys,  was  born  at 
Seckingen,  Baden,  in  1779.  After  a  preliminary 
course  of  instruction  in  Karlsruhe,  he  went  in 
1798  to  Vienna  and  entered  the  Academy,  where 
he  studied  under  Fuger.  He  soon  became  known 
for  his  mythological  pictures  in  <iil  and  water- 
colour — of  which  we  may  mention  a  '  Cupid  and 
Psyche ' — and   for  his  etchings  and  lithographs ; 

9 


A  BIOGRAPHICAL  DICTIONARY  OF 


but  he  was  more  especially  famed  for  his  minia- 
ture-portraits. After  a  prosperous  career  he  died 
in  Vienna  in  1852.  He  painted  in  the  style  of 
the  end  of  the  18th  century,  and  was  an  imitator 
of  his  master  Fiiger.  He  engraved  after  the 
works  of  Elzheimer,  Raphael,  Poussin,  Parmigi- 
ano,  Domenichino,  Fiiger,  and  others. 

AGROTE,  Antoxio,  an  architectural  painter, 
flourished  about  1750.  He  painted  one  of  the 
chapels  of  the  Carmelite  church  at  Milan,  and  the 
decorations  of  Santa  Maria  at  Brescia,  for  which 
Carloni  painted  the  figures. 

AGUA,  Bebnabdixo  dell"  (or  Acqua).  See 
Dell'  Acqpa. 

AGUCCHIA,  GiovAXXi,  an  engraver,  is  stated 
by  Heineken  to  have  been  a  native  of  Milan, 
flourishing  in  the  16th  century ;  and  to  him  he 
ascribes  two  engravings,  one  of  the  cathedral  of 
Milan,  to  which  is  aflixed  the  signature,  Agucchi 
fece  Milano ;  and  the  other  of  the  gatewa\  of  a 
large  building, bearing  the  initials  G.  A.  Schmidt, 
in  Meyer's  '  Kiinstler-Lexikon,'  doubts  whether 
the  two  works  are  by  the  same  man,  and  seems 
to  think  that  there  is  a  possibility  of  the  former 
work  being  by  Federigo  Agnelli. 

AGUDO.     See  Madrazo. 

AGUERO,  Besito  SIaxuel  de,  a  landscape  and 
battle  painter,  was  born  at  Madrid  in  1626,  and 
was  a  scholar  of  Mazo  Martinez,  whose  style  and 
manner  he  closely  followed.  He  endeavoured  to 
imitate  Titian  in  his  historical  compositions,  but 
was  not  successful.  He  died  at  Madrid  in  1670. 
His  pictures  are  now  very  rarely  seen. 

AGUIAR,  ToMAS  de,  a  disciple  of  Velazquez, 
painted  portraits,  which  were  distinguished  for  the 
freedom  of  the  style  and  their  strong  resemblance. 
Among  other  eminent  persons  he  painted  Antonio 
de  Solis,  the  poet,  who  celebrates  him  in  a  sonnet. 
He  was  considered  an  excellent  painter  of  small 
figures.     He  died  in  Madrid  about  1679. 

AGUILA,  Del.     See  Del  Aguila. 

AGDILAR.     See  Jauregcy  t  Aguilab. 

AGUILERA,  Diego  de,  was  a  painter  of  sacred 
history,  and  resided  at  Toledo  about  1587.  He 
was  a  man  of  conciliating  manners,  and  a  good 
judge  of  works  of  art ;  he  was  generally  con- 
sulted by  the  nobility  and  others  as  to  the  prices 
demanded  by  artists,  and  did  justice  to  both.  The 
greater  part  of  his  pictures  were  destroyed  by  fire. 
The  time  of  his  death  is  not  known. 

AGUILLES.     See  BoTER. 

AGUIRRE,  Fraxcisco  de,  a  pupil  of  Engenio 
Caxes,  was  a  portrait  painter,  and  a  restorer  of 
pictures,  to  which  occupation  he  particularly  de- 
voted himself.  He  commenced  to  practise  it  at 
Toledo  in  1646,  where  he  was  employed  to  restore 
the  pictures  in  the  cathedral,  and  gave  abundant 
proofs  of  his  ignorance  and  presumption,  by  alter- 
ing them  according  to  his  notions  ;  a  practice  that 
has  been  followed  by  others  since  his  time,  and 
to  which  may  be  ascribed  the  loss  of  many  fine 
pictures  of  the  best  Spanish  masters.  Aguirre  is 
otherwise  known  only  by  his  portraits,  which 
never  rose  above  the  level  of  mediocrity. 

AGUIRRE  Y  MONSALBE,  Maxuel,  a  painter 
of  Aragon  and  pupil  of  Vicente  Lopez,  became,  in 
1846,  professor  at  the  Academy  of  San  Luis  in 
Saragossa.  A  collection  of  portraits  of  the  Kings 
of  Aragon  by  him  is  in  the  Casino  at  Saragossa. 
He  died  in  1855. 

AGULLO,  Fbancisco,  a  Spanish  painter,  exe- 
cuted in  1637  an  altar-piece  for  the  convent  of  St. 
10 


Sebastian   at   Concentaina,   his    birthplace.       He 
died  there  in  1648. 

AGUSTIN  T  GRAKDE,  Fbaxcisco,  an  historical 
painter,  who  was  bom  at  Barcelona  in  1753, 
studied  in  Rome  under  Raphael  Mengs,  and 
became  one  of  his  best  imitators.  On  his  return 
to  Spain  he  became  first  director  of  a  school  of 
design  at  Cordova,  and  subsequently,  in  1799,  a 
member  of  the  Academy  of  San  Fernando  at 
Madrid.  He  died  in  1800.  Agustin  painted 
chiefly  for  churches,  and  the  greater  part  of  his 
works  are  in  Cordova. 

AHLBOKN,  August  Wilhelm  Julius,  a  land- 
scape painter,  who  was  born  at  Hanover  in  1796, 
received  instruction  under  Wach  in  Berlin,  and 
went  in  1827  to  complete  his  education  in  Italy, 
where  he  resided  nearly  thirty  years,  and  thus 
became  almost  an  Italian  in  manner.  He  died  in 
Rome  in  1857.  While  abroad  he  sent,  from  time 
to  time,  to  Berlin,  landscapes  which  gained  him 
much  praise,  and,  while  in  Germany,  in  1833  he 
was  elected  a  member  of  the  Berhn  Academy. 
The  first  work  he  sent  was  a  view  of  the  Colosse<mi 
and  the  Via  Sacra  in  1829.  He  also  painted  views 
in  the  Tyrol  and  North  Germany,  but  they  were 
not  so  successful  as  his  landscapes  of  southern 
climes.  While  in  Italy  he  executed  sacred  pictures 
after  Fra  Angelico,  Perugino,  and  other  early 
Italians.  In  the  Berlin  National  Gallery  there 
are  bv  him  a  '  View  of  the  Castle  of  Wernigerode, 
in  the  Harz.'  1827,  and  a  'View of  Florence,'  1832. 

AIGEN,  Karl,  who  was  bom  at  Olmntz  in 
1684,  painted  in  Vienna,  and  in  1754  became  a 
member  of  the  Academy,  of  which  he  was  subse- 
quently director  and  professor.  He  died  at 
Vienna  in  1762.  The  Gallery  of  the  Belvedere 
in  that  city  has  two  works  by  him — both  views 
with  figures. 

AIGUIER,  Loms  Augustb  Laurent,  a  French 
marine  painter,  was  bom  at  Toulon  in  1819,  and 
died  in  that  town  in  1865.  There  are  examples  of 
his  work  in  the  Museums  of  Toulon  and  Marseilles. 

AIKMAN,  William,  was  bom  at  Caimey,  in 
Forfarshire,  in  1682.  He  for  some  time  studied 
the  law,  but  his  inclination  for  painting  led  him  to 
change  his  profession.  After  studjing  under  Sir 
John  Medina  for  three  years,  he  visited  Italy  in 
1707,  where  he  studied  three  years,  and  afterwards 
went  to  Turkey.  On  his  return  to  Scotland  in 
1712,  he  met  with  great  encouragement  as  a  por- 
trait painter,  in  which  branch  of  the  art  he  chiefly 
excelled.  In  1723  he  went  to  London,  where  he 
successfully  practised  his  art  until  his  death  in 
1731.  He  was  possessed  of  considerable  literary 
qualifications,  and  was  on  intimate  terms  with 
Kneller,  whose  style  of  portraiture  he  imitated ; 
and  with  Allan  Ramsay,  Thomson,  and  Mallet. 
His  memory  was  celebrated  by  the  two  last : 
Mallet  wrote  his  epitaph,  and  Thomson  his  elegy 
His  own  portrait  is  in  the  Uffizi  Gallery. 

AINEMOLO,  VixcEXzo.     See  Asiemolo. 

AINMtJLLER, Max  Emmanuel, a painteron glass 
and  porcelain,  was  bom  at  Munich  in  1807.  <■  ■■ 
Having  studied  architecture  for  some  time  /7~yi 
at  the  Munich  Academy,  where  he  showed  ■*^  •^•" 
special  ability  for  ornamentation,  he  received  an 
appointment  as  designer  at  the  Royal  Porcelain 
Manufactory  at  Nymphenburg.  Shortly  afterwards 
he  gave  up  this  appointment  in  order  to  devote 
himself  to  the  art  of  glass  painting,  which  he  helped 
to  raise  from  its  long  decline,  and  in  it  he  became 
justly  celebrated.     Under  his  direction  were  pro- 


PAINTERS  AND  ENGRAVERS. 


duced  the  splendid  glass  paintings  for  the  cathedrals 
at  Ratisbon,  Cologne,  and  Spires,  the  University 
church  at  Cambridge,  and  St.  Paul's  Cathedral  in 
London.  He  died  at  Munich  in  December,  1870. 
The  following  are  some  of  his  best  works : 

Berlin,  Nat.  Gall. :  Interior  of  a  room  at  Hohensalz- 
barg,  1843  ;  Cloister,  1844  ;  Poets'  Corner— Westminster 
Abbey,  1844;  Westminster  Abbey — Henry  VII.'s  Chapel, 
&C.,1S56;  Interior  of  a  Byzantine  Church,  1857.  Munich, 
Pinakothek:  Choir  of  Westminster  Abbey  ;  Westminster 
Abbey — Shrine  of  Edward  the  Confessor,  &c. ;  Cathedral 
of  Hheims. 

AIROLA,  Angela  Veronica,  a  native  of  Genoa, 
instructed  in  the  art  by  Domenico  Fiasella,  called 
Sarzana.  She  painted  some  pictures  for  the 
churches  in  that  city,  and  then  joined  the  order 
of  San  Bartolommeo  dell'  Oliveta  at  Genoa,  and 
painted  while  in  the  convent.     She  died  in  1670. 

AIVOZOWSKI,  Ivan  Constantinovitsch,  was 
born  at  Feodosia,  Crimea,  in  1817.  He  studied  at 
the  St.  Petersburg  Academy  from  1833,  becoming 
a  pupil  of  Philippe  Tanneur  in  1835.  As  a  painter 
of  marine  subjects  he  first  attracted  attention  in 
1837.  In  1840  he  went  to  Italy,  and  painted  ai 
Naples  ;  and  after  visiting  Holland,  England  and 
Spain  returned  in  1844  to  Russia,  where  he  was 
made  a  member  of  the  St.  Petersburg  Academy, 
and  executed  for  the  Emperor  several  views  of 
the  Gulf  of  Finland.     He  died  in  1900. 

AKEN,  Aenout  van,  brother  of  Jozef  van  Aken, 
flourished  in  England  in  the  beginning  of  the  18th 
century.  He  etched  frontispieces  to  plays  and 
other  small  works  for  the  publishers. 

AKEN,  P.  VAN,  a  painter  of  fruit,  flowers,  and 
objects  of  still-life,  flourished  in  the  early  part  of 
the  18th  century  (?).  No  details  are  recorded  of 
his  life.  His  works  bear  his  name,  F.  van  Aken, 
or  the  initials,  F.  V-  A. 

AKEN,  Jan  van  —  not  to  be  confounded  with 
Johann  von  Aachen  (who  was  bom  in  1552) — was 
a  painter  and  engraver,  and  was  born  in  Holland 
in  1614.  He  was  a  contemporary  and  friend  of 
Pieter  van  Laer,  called  Bamboccio.  Van  Aken 
etched  four  landscapes,  or  views  of  the  Rhine, 
— marked  H.  L.  inventor,  I.  v.  Aken,  fecit — after 
Hermann  Saftleven,  whose  style  he  imitated.  We 
have  also  by  him  a  series  of  six  subjects  of  horses 
in  difierent  positions,  with  very  pleasing  back- 
grounds, marked  J.  v.  Aken,  fecit.  Heineken 
mentions  a  print  by  him,  with  a  horse  saddled 
in  the  foreground,  a  man  behind  lying  down,  and 
another  seated  with  his  hat  on,  Iv  >^/1  ^  * 
marked  /.  van  Aken,  fee.  This  ItVnJ  tX 
print  is  very  scarce. 

AKEN,  Jozef  van,  a  Flemish  artist,  who  was 
bom  in  1709  at  Antwerp,  passed  a  great  part  of 
his  life  in  England.  He  was  employed  by  eminent 
landscape  painters  to  paint  the  costumes  of  the 
figures  in  their  pictures,  in  which  he  was  very 
skilful,  and  thereby  acquired  the  name  of 
'Schneider  van  Aken'  (Van  Aken  the  tailor-). 
He  also  painted  on  satin  and  velvet,  and  prodsced 
some  excellent  works.  He  died  in  London  in  1749. 
AKEN,  Sebastiaen  van,  a  Flemish  historical 
painter,  was  born  at  Mechlin  about  1656,  and  be- 
came a  pupil  of  Lucas  Franchoys,  the  younger.  He 
afterwards  went  to  Rome,  where  he  studied  under 
Carlo  Maratti,  and  visited  Spain  and  Portugnl.  A 
painting  by  him  of  St.  Norbert  is  in  the  village 
church  of  DufEel,  near  Mechlin.  He  died  at  Mech- 
lin in  1722. 

AKERBOOM,  — ,  was  a  Dutch  painter  of  the  in- 


teriors of  cities  and  villages,  of  whom  no  details 
have  been  recorded.  He  lived  about  the  middle 
of  the  17th  century.  The  execution  of  his  works 
is  admirable.  Houbraken  mentions  a  highly  fin- 
ished miniature  picture  of  the  town  of  Doornick 
by  him. 

AKERSLOOT,  Willem,  a  Dutch  engraver,  was 
born  at  Haarlem  about  the  year  1600.  He  was  living 
in  1651.  He  engraved  a  few  plates  of  portraits, 
and  other  subjects,  amongst  which  are  the  follow- 
ing : 

Frederick  Henry,  Prince  of  Orange,  after  A.  van  der 
J'enne ;  Amelia,  Princess  of  Orange,  with  her  two 
Daughters,  after  the  savie  ;  Christ  taken  in  the  Garden, 
after  Holbein;  Christ  bound,  after  F.  Moijn;  Peter 
denying  Christ,  after  the  same. 

AKKEL,  Feedrik,  was  born  at  Oja,  in  the  pro- 
vince of  Sudermania,  in  Sweden,  in  1748.  He  was 
instructed  in  the  art  by  Akerman  at  Upsal,  where 
he  engraved  the  views  of  some  buildings  in  that 
town,  and  a  few  portraits.  In  1771  he  visited 
Stockholm,  where  he  had  access  to  the  instruc- 
tion of  the  Academy.  Two  years  later  he  visited 
Paris,  but  did  not  remain  there  long.  He  died  at 
Stockholm  in  1804.  There  is  a  set  of  ten  well- 
engraved  portraits  of  Swedish  personages  by 
him. 

ALABARDI,  Giuseppe,  called  Schioppi,  a  Vene- 
tian painter,  lived  about  1600.  He  painted  in  oil 
and  fresco  in  the  Doge's  palace,  the  churches, 
and  other  pubhc  buildings  of  Venice. 

ALAGNA.     See  Tanzio. 

ALAIS,  J.,  engraved  portraits  of  Edmund  Kean 
as  Macbeth  and  as  lago,  after  George  Cruikshank, 
which  were  published  in  London  in  1814. 

ALAMANNI.     See  Alemani. 

ALAMANNUS.     See  Alemanno. 

ALAUK,  Jean,  called  Lb  Romain,  historical 
painter,  was  bom  at  Bordeaux  in  1786.  Early  in 
life  he  entered  the  school  of  M.  Vincent,  in  Paris, 
where  he  was  a  fellow-pupil  with  Horace  Vemet  ; 
subsequently  he  attended  the  atelier  of  P.  Gu^rin, 
with  Ary  Schefl:er,  Delacroix,  and  other  eminent 
artists.  He  obtained  the  Grand  Prix  de  Rome  in 
1815  ;  but  did  not  attract  general  attention  till  1824, 
when  he  exhibited  '  The  Combat  of  the  Centaurs 
and  Lapithas,'  and  '  Pandora.'  He  was  much 
patronized  by  Louis  Philippe,  and  executed  several 
oil  paintings  and  frescoes  in  the  Louvre,  tlie 
Luxembourg,  and  the  Historical  Museum  at  Ver- 
sailles. He  was  decorated  with  the  cross  of  the 
Legion  of  Honour  in  1841,  and  made  director  of 
the  French  Academy  at  Rome  five  years  later.  He 
died  at  Paris  in  1864. 

ALAUX,  Jean  Paul,  called  Gentil,  a  French 
la-ndscape  painter  and  lithographer,  was  born  at 
Bordeaux  in  1788.  He  became  director  of  the 
School  of  Design  at  Bordeaux,  and  died  there  in 
1858.  A  View  of  Bordeaux  painted  by  him  is  in 
the  Museum  of  that  city. 

ALBA,  Maceino  d'.    See  Fava,  Gianqiacomo. 

ALBANESI,  Angelo,  was  an  Italian  engraver, 
who  flourished  in  the  latter  part  of  the  18th  century. 
By  him  are  some  neat,  spirited  etchings  of  archi- 
tectural ruins  in  and  near  Rome,  some  of  which 
bear  his  name.  He  executed  a  series  of  enigravings 
of  nymphs  after  Angelica  KaufEmann,  which  were 
published  in  London  in  1784.  He  also  engraved 
some  portraits. 

ALBANI,  Francesco  (or  Albano),  the  son  of 
Agostino  Albani,  a  silk  merchant,  was  born  in 
Bologna  in  1578.     Although  he  showed  a  strong 

11 


A  BIOGRAPHICAL  DICTIONARY  OF 


inclination  for  the  arts  from  his  childhood,  his 
parents  were  desirous  of  bringing  him  up  to  his 
father's  profession  ;  but  his  uncle,  thinking  he  per- 
ceived in  him  indications  of  genius,  prevailed  on  his 
father  to  place  the  lad,  at  the  age  of  thirteen  years, 
under  the  care  of  Denijs  Calvaert,  whose  academy 
was  at  that  time  in  great  repute.  Guido  Reni,  who 
was  then  a  student  under  Calvaert,  conceived  a 
friendship  for  the  young  Albani,  and  assisted  him 
in  his  studies.  Later  on  Guido,  having  learned 
all  he  could  acquire  from  his  first  instructor,  be- 
came a  scholar  of  Lodovico  Carracci.  He  was 
soon  followed  by  Albani,  and  they  continued 
their  studies  under  that  distinguished  master  with 
great  assiduity,  accompanied  by  an  emulation 
conducive  to  the  advancement  of  both.  Guido, 
on  leaving  the  Carracci,  visited  Rome,  whither 
he  was  soon  after  followed  by  his  friend  and  fel- 
low-student. It  was  not  long  before  the  talent 
of  Albani  brought  him  into  notice  in  that  metro- 
polis of  art ;  and  Annibale  Carracci  (who  was 
at  that  time  employed  in  painting  the  chapel  of 
San  Diego,  in  the  national  church  of  the  Span- 
iards), falling  sick,  recommended  Albani  to  be  em- 
ployed to  finish  it.  and  the  greater  part  of  the  work 
was  completed  by  him,  in  a  manner  that  gained 
him  great  reputation.  He  was  afterwards  engaged 
in  some  considerable  works  in  the  Verospi  (now 
the  Torlonia)  Palace  at  Rome,  where  he  represented 
diti'erent  subjects  from  Ovid,  treated  with  great 
ingenuity.  These  performances  established  the 
fame  of  Albani  throughout  all  Italy.  The  Duke 
of  Mantua  invited  him  to  his  court,  where  he 
painted  several  pictures,  representing  the  story  of 
'  Diana  and  Actseon,'  and  '  Venus  and  Cupid.' 

On  his  return  to  Rome  he  executed  the  large 
works  which  are  in  the  tribune  of  the  Madonna 
della  Pace.  In  the  church  of  San  Sebastiano  is  an 
altar-piece  representing  the  martyrdom  of  that 
saint,  entirely  in  the  manner  of  Carracci,  and  a 
picture  of  the  'Assumption,'  painted  in  conjunc- 
tion with  Guido  Reni. 

He  died  at  Bologna,  in  1660,  in  the  arms  of 
his  piipUs — with  his  brush  in  his  hand — in  his 
82nd  year.  The  four  allegorical  pictures  of  the 
'  Elements,'  now  in  the  Borghese  Palace,  which  he 
painted  for  the  Cardinal  Maurice  of  Savoy,  are 
reckoned  among  the  finest  of  his  works,  and  have 
been  copied  repeatedly,  some  so  successfully  as  to 
pass  for  the  original  works. 

The  following  is  a  list  of  some  of  his  principal 
works : 


Bolc^na.  Pinacoteca. 
Dresden.  Gallery, 

>»  n 

"  ») 

Florence.  Uffizi. 


Milan. 
Paris. 


Jirera. 
Louvre. 


Rome.  5.  Mar.  de  P. 

„  Colonna  P. 

„  Torlonia  P. 

Petrsbrg.  Hermitage. 

Turin.       Gallery. 


Annunciation. 

Baptism  of  Christ. 

Amorini  dancing — with  the  Rape  of 

Proserpine. 
Diana  and  Actseon. 
Venus  and  Vulcan. 
Creation  of  Eve. 
His  ovni  Portrait. 
Infant  Christ  (with  Angels). 
The  Eape  of  Proserpine. 
Amorini  disarmed. 
Venus  and  Adonis. 
Children  (fresco). 
Europa  and  the  Bull. 
Scenes  from  Ovid. 
Europa  and  the  BuU. 
Baptism  of  Christ. 
Four  Elements. 


The   style   of    Albani    is   more   beautiful   than 
grand ;  bis  compositions  are  ingenious  and  abund- 
12 


ant.  and  his  figures  are  both  elegant  and  graceful. 
The  landscapes  which  occupy  the  backgrounds  of 
his  pictures  are  extremely  pleasing,  touched  with 
great  taste,  and  there  is  a  freshness  and  delicacy  in 
his  colouring  that  charm  the  beholder.  It  cannot, 
however,  be  denied,  that  he  is  to  be  regarded  rather 
as  an  agreeable  than  as  a  great  painter. 

Albani  had  many  pupils,  among  whom  Giovanni 
Battista  Mola,  Carlo  Cignani,  Andrea  Sacchi,  and 
Giovanni  Maria  Galli,  caDed  '  Bibiena,'  were  the 
most  famous.  A  very  rare  etching,  representing 
the  '  Death  of  Dido,'  has  been  attributed  to  this 
eminent  painter. 

ALBAXIS  DB  BEAUMONT,  Jean  FRAsgois,  an 
amateur  artist,  bom  in  Piedmont,  came  in  the 
latter  half  of  the  18th  century  to  England  and  was 
naturahzed.  He  published  at  Genoa,  in  1787, 
'  Voyage  Pittoresque  aux  Alpes  Pennines,'  with 
twelve  coloured  plates,  and  during  the  next 
twenty  years  several  other  books  of  travels  in  the 
Alps  and  the  South  of  France,  illustrated  from  his 
own  drawings,  which  he  engraved  in  aquatint.  It 
is  believed  that  he  died  in  England  soon  after 
1806. 

ALBANO.     See  Albani. 

ALBARA.     See  Carbosi. 

ALBARELLI.     See  Albebelli. 

ALBARETI,  — ,  bom  at  Rome,  painted  about 
1520.  The  name  was  discovered  on  a  picture  of 
'  Christ  in  Glory,'  after  the  manner  of  the  pupils 
of  Raphael,  when  the  work,  which  is  in  the  Parma 
Academy,  was  cleaned  at  Paris.  It  had  formerly 
been  ascribed  to  Raphael  himself. 

ALBE,  Bacleb  d'.     See  Bacleb  d'Albe. 

ALBERELLI,  Giacomo  (or  Albarelli).  This 
painter  was  a  native  of  Venice,  and  flourished 
about  the  year  1600.  He  was  a  disciple  of  Jacopo 
Palma  the  younger,  ^vith  whom  he  worked  as  a 
coadjutor  for  thirty-four  years.  He  painted  his- 
torical subjects,  and  there  are  several  of  his  works 
in  the  pubUc  edifices  at  Venice,  of  which  one  of 
the  most  esteemed  is  a  picture  of  the  '  Baptism  of 
Christ,'  in  the  church  of  the  Ognissanti.  He  died 
about  the  year  1650.  Ridolfi  tells  us  he  was  also 
a  sculptor. 

ALBERICI,  Enrico  (or  Albkizzi),  was  bom  at 
VUminore,  near  Bergamo,  in  1714,  and  was  a 
scholar  of  Ferdinando  Cairo,  of  Brescia,  under 
whom  he  studied  three  years.  He  is  stated  by 
Tassi,  in  his  account  of  the  Bergamesque  painters, 
to  have  been  a  very  reputable  artist ;  and  several 
of  his  works  are  particularly  described  by  that 
author.  He  died  in  1775  at  Bergamo.  He  painted 
many  works  for  the  churches  and  buildings  of 
Brescia,  Bergamo,  and  the  villages  in  the  Valle  di 
Scalve.  Among  many  others  he  painted  for  the 
church  Santa  Maria  dei  Miracoli,  at  Brescia,  the 
'  Woman  of  Samaria,'  the  '  Parable  of  the  Pharisee 
and  the  Publican,'  the  '  Raising  of  Lazarus,'  the 
'  Prodigal  Son,'  and  the  '  Good  Shepherd.' 

ALBERT,  SiMON',  a  distinguished  historical 
painter,  bom  at  Haarlem  in  1523,  was  a  scholar 
of  Jan  Mostaert.  He  lived  to  a  great  age,  but 
the  exact  year  of  his  death  is  not  recorded. 

ALBERT   VON    WESTPHALEN.      See   Aldk- 

GREVER. 

ALBERTI,  Alessandro,  the  eldest  eon  of 
Alberto,  was  bom  at  Borgo  San  Sepolcro  in  1551. 
He  received  instruction  in  art  from  a  painter  of 
the  name  of  Gaspero  di  Silvestro,  of  Perugia.  In 
1566,  Alessandro's  uncle  Lodovico  took  him  to 
Rome,  where  he   subsequently   executed  in   the 


PAINTERS  AND  ENGRAVERS. 


palaces,  churches,  and  puhlic  buildings,  pictures 
of  much  merit.  He  worked  much  in  conjunction 
with  his  brothers.  He  died  at  Rome  in  1596, 
while  engaged  on  the  great  work  of  decorating 
the  Sala  Clementina  for  Pope  Clement  VIII. 
Alessandro  also  worked  at  Borgo  San  Sepolcro, 
Naples,  and  Mantua. 

ALBERTI,  Antonio,  of  Ferrara,  painted   por- 
traits and  sacred  subjects,  and  was  distinguished 
in  his  day.     In  the  sacristy  of  the  church  of  San 
Bernardino,   outside  Urbino,  is  a  '  Madonna  and 
Child  enthroned,'  by  him,  dated  1439.     The  fres- 
coes in  the  chapel  of  the  Bolognini,  at  San  Petronio, 
Bologna,  consisting  of  incidents  from  the  Passion, 
the    Paradise,    and    the    Inferno,   and    numerous 
figures   of   saints   and   angels ;    as  well   as  those 
which  decorate  the  inner  choir  of  Sant'  Antonio 
Abate,  Ferrara,  and  dated  1433,  consisting  of   a 
half-length  Virgin  and  Child,  between  SS.  Benedic  t, 
Sebastian,  another  saint,  and  an  angel  with  a  bal- 
ance, have  all  been  attributed  to  Antonio  by  Crowe 
and  Cavalcaselle.     The  dates  of  this  artist's  birth 
and  death  are  unknown.     He  had  a  son  of  the  same 
name,  who  was  also  a  superior  artist,  living  in  1550. 
ALBERTI,   Cherubino,  called    Bobgheggiano. 
This  eminent  artist  was  bom  at  Borgo  San  Sepolcro 
in    1553.     He   was   the    second    son   of   Alberto 
Alberti,  an  architect  and  sculptor.     He  became  a 
reputable  painter  of  history,  and  executed  many 
considerable  works  both  in  oil  and  in  fresco,  in  the 
palaces  and  churches  of  Rome,  where  his  piincipa] 
paintings  were  in  the  church  of  Santa  Maria  in  Via. 
He  was  also  director  of  the  Academy  of  St.  Luke 
in  that  city,  where  he  died  in  1615.     His  native 
town  possesses  numerous  examples  of  his  art,  as 
well  as  several  works  executed  by  him  in  conjunc- 
tion with  his  brothers,  Alessandro  and  Giovanni. 
He  is,  however,  more  celebrated  as  an  engraver 
than  a  painter,  and  in  that  character  he  is  deserv- 
ing of  particular  attention.     It  is  not  ascertained 
from  whom  he  learned  tlie  art  of  engraving  ;  but, 
from  his  manner,  especially  in  his  earliest  produc- 
tions, it  is  very  probable  that  he  may  have  been 
first  a  scholar  of  Comelis  Cort,  and  afterwards 
have  formed  to  himself  a  more  correct  and  a  freer 
style,  by  studying  the  works  of  Agostino  Carracci 
and  Francesco  Villamena.  His  plates  are  executed 
entirely  with  the  graver,  and  it  does  not  appear 
that   he   made   use  of   the  point.     His  drawing, 
particularly  in  the  nude,  is  generally  correct,  and 
the  airs  of  his  heads  have  a  pleasing  expression, 
but  his  draperies  are  clumsy  and  stifE.     His  works 
as  an  engraver  may  be  considered  as  very  extra- 
ordinary productions   of    genius,   and   that   at   a 
period  when  the  art  of  engraving  was  at  a  great 
distance  from  the  perfection  to  which  it  after- 
wards arrived.     We  are  indebted  to  this  artist  for 
having  preserved  to  us,  in  his  prints,  some  of  the 
beautiful    friezes    by    Polidoro    da    Caravaggio, 
painted  on  the  facades  of  the  public  edifices,  which 
have  been  destroyed  by  time. 

The  prints  of  this  master  are  very  numerous  ; 
the  whole  of  his  works  extend  to  about  180 
plates,  75  of  which  are  from  his  own  designs  ;  the 
others  are  from  Michelangelo,  Raphael,  Polidoro 
da  Caravaggio,  Andrea  del  Sarto,       c  n 

and  others.    He  generally  marked      ZIX         /t 
his  prints  with  one  of  these  mono-    -^^f     '^^' 
grams.     The  following  are  his  principal  works : 

SUBJECTS   FROM   HIS   OWN   DESIGNS. 
Portrait  of  Pope  Gregory  XIII.  oval,  with  ornaments. 
of  Pope  Urban  VII.,  the  same. 


Portrait  of  Henri  IV.  of  France,  oval.     1595. 

of  Pietro  Angelo  Bargee. 

Judith  with  the  Head  of  Holofemes. 

The  Nativity ;  inscribed,  JJeiis  omiiipotens,  ^c. 

The  Fhght  into  Egypt.     1574. 

The  Holy  Family,  with  St.  Elisabeth.     1571. 

Another  Holy  Family ;  St.  Joseph  seated,  with  a  book. 

The  Body  of  Christ  supported  in  the  clouds  by  an 

angel;  inscribed,  Magtium pietatis  opna^  ^c. 
The  Virgin  Mary  and  Infant  in  the  clouds ;  i.iseribed, 

Regina  cteli. 
Mary  Magdalene  penitent.     1582. 
.St.  Catherine  receiving  the  Stigmata.     1574. 
St.  Christian  drawn  out  of  the  sea. 
.St.  Francis  receiving  the  Stigmata.     1599. 
St.  Charles  of  Borromeo,  kneeling  before  the  Virgin 

and  Infant.     1612. 
Six  of  Children,  for  ceilings;   dedicated  to  Cardinal 

Visconti.     1607. 

SUBJECTS   FROM   THE    DESIGNS   OF    VARIOUS   MASTERS. 

St.  Susannah  restmg  against  a  pedestal,  with  a  sword. 

The  Crucifixion  ;  after  Michelangelo. 

St.  Jerome,  meditating  on  the  Crucifix :  after  the  same. 

1575. 
St.  Andrew  bearing  his  Cross  ;  after  the  same.     1580. 
Two  other  figures,  from  the  Last  Judgment ;  after  the 

same.     1591. 
Charon,  with  two  other  figures ;  after  the  same.     1575. 
Prometheus  devoured  by  the  Vulture  ;  after  the  same. 

1580. 
The  famous  Pieta,  sculptured  by  Michelangelo. 
Three— The  Creation;  Adam  and  Eve   driven  out  of 

Paradise;  and  the  same,  subjected  to  labour;  Pol%- 

dorus  de  Caravaggio^  invent. 
The  Death  of  the  Children  of  Niobe,  in  five  sheets    a 

frieze  ;  after  the  same. 
The  Rape  of  the  Sabmes,  another  frieze  ;/ro»i  the  same. 
The  Triiunph  of  Camillus ;  in  the  style  of  the  antique. 
Pluto  holding  a  torch. 
Fortune  standing  on  a  shell. 
The  Presentation  ;  after  Raphael. 
The  Eesmrection,  a  grand  composition ;  after  the  same. 
The  Holy  Family ;  after  Raphael.     1582. 
Jupiter  and  Ganymede ;  after  the  same.     1580. 
The  Graces  and  Venus  leaving  Juno  and  Ceres  ;  after 

Raphael.     1582. 
The  Adoration  of  the  Magi ;  after  II  Rosso.     1574. 
The  Transfiguration  ;  after  the  same. 
Christ  praying  on  the  Moimt ;  after  the  same.     1574. 
The  Stoning  of  Stephen ;  after  the  same. 
A  piece  of  architecture ;  after  the  same,  in  two  prints. 

Roma,  1575. 
The  Baptism  of  our  Saviour,  by  St.  John;  after  A.  del 

Sarto.     1574. 
The  Miracle  of  St.  Philip  Benizzo ;  after  A.  del  Sarto. 

Very  fine. 
Tobit  and  the  Angel ;  after  Tibaldi.     1575. 
Christ  praying  in  the  Garden ;  after  Perino  del  Vaga. 
The  Adoration  of  the  Shepherds;  after  Tad.  Zucchero 

in  two  sheets.     1575. 
The  Holy  Family ;  after  the  same. 
The  Scoiuging  of  Christ ;  after  the  same. 
The  Conversion  of  St.  Paul ;  after  Tad.  Zucchero. 
The  Assiunption  of  the  Virgin  ;  after  the  same. 
Another  Assiunption ;  after  Fed.  Zucchero. 
The  Coronation  of  the  Virgin ;  after  the  same.     1572. 

ALBERTI,  Durante,  called  '  Del  Nero,'  son  of 
Romano  I.  Alberti,  was  bom  at  Borgo  San  Sepolcro 
in  1538  ;  and,  according  to  Baglioni,  visited  Rome 
when  young,  during  the  pontificate  of  Gregory 
XIII.  It  was  not  long  before  he  distinguished  him- 
self by  painting  several  pictures  for  the  churches 
and  other  public  edifices.  In  the  church  of  San 
Girolamo  della  Carita,  one  of  the  chapels  was  en- 
tirely painted  by  him  in  fresco,  and  there  was  an 
altar-piece  in  oil  by  him,  representing  the  Virgin 
and  Infant  Jesus,  with  St.  Bartolommeo  and  St. 
Alessandro.  In  Santa  Maria  de'  Monti,  he  painted 
the  '  Annunciation.'  Several  other  churches  at 
Rome  possess  works  of  this  eminent  artist.    He 

13 


A  BIOGRAPHICAL  DICTIONARY  OF 


died  in  1613,  and  was  buried  with  great  distinction 
in  the  Chiesa  del  Popolo,  attended  by  all  the  prin- 
cipal artists  in  Rome.  His  portrait  is  in  the  Aca- 
demy of  St.  Luke.  He  had  a  brother  Cosimo,  a 
sculptor,  engraver,  and  painter,  who  died  in  Rome 
in  1596. 

ALBERTI,  Giovanni,  brother  of  Cherubino 
Alberti,  and  third  son  of  Alberto,  was  born  at  Borgo 
San  Sepolcro,  in  1558.  He  visited  Rome  in  the 
time  of  Gregory  XIII..  and  was  employed  by  that 
pontiff  in  the  papal  palace  on  Monte  Cavallo,  and 
in  the  Vatican.  He  excelled  in  painting  land- 
scapes and  perspective,  in  which  the  figures  were 
usually  painted  by  Cherubino.  He  was  also  em- 
ployed by  Clement  VIII.  to  paint  the  sacristy  of 
San  Giovanni  in  Laterano,  and,  in  conjunction  with 
his  brothers,  to  decorate  the  Sala  Clementina  in 
the  Vatican.  For  this  Vv'ork,  which  was  commenced 
in  1595  and  completed  in  1598,  the  two  painters 
(Alessandro  had  died  during  the  course  of  execu- 
tion) received  3050  scudi.  Giovanni  Alberti 
also  laboured  in  his  native  town,  in  Mantua,  Pe- 
rugia, Florence,  and  elsewhere.  He  died  at  Rome 
in  1601.  His  portrait  is  in  the  Academy  of  St. 
Luke,  and  another  in  the  Uffizi  at  Florence. 

ALBERTI,  Giuseppe,  who  was  bom  at  Cavalese, 
in  the  Tyrol,  in  1664,  after  having  studied  medi- 
cine at  Padua  determined  to  become  a  painter  and 
architect.  He  worked  under  Liberi  at  Venice, 
and  further  improved  himself  by  study  at  Rome, 
and  then  settled  at  Trieste,  where  he  executed  a 
number  of  religious  pictures,  which  may  now  be 
seen  in  Trent,  Cavalese,  and  other  towns  in  the 
Tyrol.  He  also  worked  in  Italy,  to  which  country 
ae  paid  a  second  visit.  He  founded  a  good  school 
of  painters  in  his  own  town.  Alberti  died  at  Cava- 
lese in  1730.  His  '  Martyrdom  of  St.  Simon  of 
Trent,'  formerly  in  the  castle  of  Trent,  now  in  the 
Ferdinandeum  at  Innsbruck,  is  his  best  known 
work. 

ALBERTI,  Jean  Eugene  Chaeles,  who  was 
bom  at  Amsterdam  in  1781,  studied  first  in  that 
city,  then  at  Paris  under  David,  and  afterwards  at 
Rome,  where  he  copied  the  works  of  Guido  and 
Van  Dijck.  He  subsequently  returned  and  settled 
in  Paris.  The  date  of  his  death  is  not  recorded. 
'Marius  among  the  Ruins  of  Carthage,'  painted  in 
1805,  gained  him  a  gold  medal  Alberti  engraved 
both  iirom  his  own  works  and  from  those  of  the 
Italian  masters. 

ALBERTI,  MicHELE,  a  painter  of  Florence, 
flourished  in  the  latter  half  of  the  16th  century. 
He  was  a  disciple  of  Daniello  Ricciarelli,  called 
'  Da  Volterra,'  and  was  a  reputable  painter  of 
history.  His  principal  work  is  a  picture  in  the 
church  of  the  Trinita  dei  Monti,  at  Rome, 
representing  the  'Murder  of  the  Innocents,' 
much  spoiled  by  restoration.  Michele  Alberti 
has,  by  Orlandi,  been  erroneously  recorded  as  a 
member  of  the  family  of  Alberti  of  Borgo  San 
Sepolcro. 

ALBERTI,  PiETRO  Francesco.  This  artist,  _-, 
the  son  of  Durante  Alberti,  was  bom  in  1584.  kA 
He  painted  historical  subjects  in  the  style  of  1-^ 
his  father,  and  has  left  works  in  Rome  and  in  his 
birthplace.  He  was  the  designer  and  engraver 
of  a  plate  called  '  Accademia  de'  Pittori,'  a  large 
print  lengthways ;  a  composition  of  many  figures, 
etched  with  great  spirit,  and  evidently  the  work 
of  a  painter.  In  Meyer's  '  Kiinstler-Lexikon '  ten 
engravings  are  mentioned  by  him.  He  died  in 
1638  at  Rome. 

14 


ALBERTINELLI,  Mariotto,  the  son 
of  Biagio  di  Bindo  Albertinelli,  was  bom 
at  Florence  in  1474.   He  was  apprenticed,     ^.jl^ 
when  young,  to  Cosimo  Rosselli,  in  whose   ^  T\ 
studio   he  was   a  fellow-pupil   with   Fra    ^"-^V^ 
Bartolommeo.      In   the  year  1509   they 
entered    into  partnership,    and  painted  ' 

conjointly  many  works,  some  of  which  bear  the 
monogram  of  a  cross  with  two  interlaced  rings. 
When  Fra  Bartolommeo  retired  into  monastic 
seclusion,  his  friend  and  partner  finished  several 
of  his  uncompleted  works.  But  they  again  painted 
together  from  1510  to  1513.  It  is  related  by  Vasari, 
that  Albertinelli,  at  one  time,  being  enraged  at 
some  criticisms  which  were  made  on  his  painting, 
abandoned  the  brush  and  opened  a  public-house  ; 
it  is  certain,  however,  that  he  retumed  to  his  art 
again.  He  died  at  Florence  in  1515,  on  his  return 
from  a  journey  to  Rome.  In  painting  he  resembled 
Fra  Bartolommeo  as  closely  as  one  artist  ever 
resembled  another.  He  is  much  to  be  admired  for 
the  design  and  the  chiaroscuro  of  his  pictures. 

The  following  are  some  of  his  best  works : 
Bergamo.  Lockis.         Crucifixion, 

.,  Morelli.       St.  John  and  the  Magdalen. 

Berlin.       Museum.     Assumption  {part  by  Fra  Bartolom- 
meo). 
CamhiidgeFitsmlliam'ViTgin  with  Christ  and  Jolin  the 
Mus.  Baptist  {signed  and  dated  1509). 

Florence.  Accademia.  Annunciation    {signed    and    dated 
1510). 
Holy  Trinity.     1510  (?). 
„        Certosa.        Gruci&aon  {siptied  and  dated  1506). 
„        Fitti  Pal.     Marriage  of   St.  Catherine.     1512 

{part  by  Fra  Bartolommeo). 
„        S.  Maria.    Last  Judgment.    Fresco  {commenced 
Nuova.  by  Fra  Bartolommeo — the partiy 

Albertinelli  is  nearly  destroyed). 
„         TJffizi.  Visitation  of  the  Virgin  {Aii»iiM<«r- 

piece).    1503. 
Paris,        Louvre.        Madonna  and    Child   {signed   and 
dMed   150(3),  formerly  in  Santa 
Trinita^  Florence. 
„  „  ChristappearingtoMaryMagdalene, 

Pisa.        5.  Catarina.  Madonna  and  Child  {part  by  Fra 

Bartolommeo), 
Siena.        Gallery.       St.  Catharine. 
„  „  The  Magdalen. 

Volterra.   Duomo.       Annunciation. 

ALBERTOLLI,  Giocondo,  the  most  famous  of  a 
family  of  artists,  was  born — according  to  Meyer's 
'  Kiinstler-Lexikon '  —  at  Bedano,  in  1742.  He 
studied  at  Parma  under  a  sculptor,  and  also  in  the 
Academy,  and  at  Rome  from  the  antique  ;  and 
soon  became  famous  for  his  ornamental  architec- 
tural decorations.  He  was  elected,  in  1776,  pro- 
fessor of  ornament  to  the  Milan  Academy,  but  he 
resigned  the  post  in  1812  on  account  of  failing 
eyesight.  In  1809  Napoleon  made  him  a  Knight 
of  the  Iron  Crown.  Albertolli  was  much  em- 
ployed in  decorating  palaces,  churches,  and  public 
buildings  in  Italy,  and  gave  a  new  impetus  to  the 
art  of  ornamental  design  in  that  country.  His 
paintings  are  scarce.  A  '  Madonna  and  Child '  by 
him  is  in  the  church  of  St.  Rooh,  at  Milan,  in 
which  city  he  died  in  1840,  aged  98. 

ALBERTOLLI,  Raffaello,  a  pupil  of  his  father 
Giocondo,  distinguished  himself  as  an  engraver  in 
mezzotinto  and  etching,  and  executed  many  por- 
traits of  eminent  persons.  He  was  born  in  1770, 
and  died  at  Milan  in  1812. 

ALBERTONI,  Paolo,  a  follower  of  Carlo  Ma- 
ratti,  painted  in  his  style  ;  he  died  soon  after 
1695.  There  are  pictures  by  him  in  the  church 
of  San  Carlo  in  the  Corso,  in  Santa  Maria,  in  the 


PAINTERS  AND  ENGEAVERS. 


Campo  Marzo,  Santa  Marta,  and  other  churches  in 
Rome. 

ALBEETDS,  Hans  CHRrsTOPH,  was  a  native  of 
Dresden,  and  studied  there  from  1611  to  1622  with 
a  goldsmith.  We  have  by  him  a  portrait  of  Johann 
SeckendorS,  rector  and  professor  at  Zwickau,  en- 
graved from  a  picture  painted  by  himself,  which 
is  considered  a  fine  work  of  art.  He  died  in 
1680. 

ALBIN,  Eleazab,  a  German,  whose  family 
name  was  Weiss,  published  several  works  on 
natural  history  in  London  between  1720  and  1738. 
His  '  Natural  History  of  Birds '  included  306 
plates  of  birds  drawn  from  life.  He  died,  it  is 
believed,  about  1740.  In  the  Gallery  at  Cassel 
there  is  a  '  Rich  Man  and  Lazarus  '  by  him. 

ALBINI,  Alessandro,  was  born  in  1568.  Ac- 
cording to  Malvasia,  this  painter  was  a  native  of 
Bologna,  and  a  distinguished  disciple  of  the  school 
of  the  Carraoci.  He  acquired  great  reputation  by 
some  designs  he  made  for  the  funeral  ceremony  of 
Agostino  Can-acci.  In  the  church  of  San  Michele 
in  Bosoo,  at  Bologna,  he  painted  a  picture  of  '  the 
Sepulture  of  St.  Valerian  and  St.  Tibertius ; '  and 
one  of  St.  Peter,  St.  Catherine,  St.  Agnes,  and  St. 
Cecilia,  in  San  Pietro  Martyro.  He  died  in  1646. 
He  painted  chiefly  in  Bologna  and  the  vicinity. 
Massini  tells  us  that  he  also  painted  in  Rome. 

ALBONI,  Paolo  (called  by  Oretti  Paolo  An- 
tonio), was  a  Bolognese  landscape  painter.  He 
was  born  in  1671  (some  say  1650).  After  practis- 
ing some  time  in  Rome  and  Naples,  he  went  in 
1710  to  Vienna,  where  he  remained  nearly  thirteen 
years,  but  being  deprived  of  the  use  of  his  right 
side  by  an  attack  of  paralysis,  he  returned  to 
Bologna ;  he  subsequently  painted  with  his  left 
hand.  He  imitated  the  style  of  Ruisdael  and 
other  Dutch  masters  ;  but  his  later  pictures  are 
inferior  to  his  earlier  productions.  He  died  in 
1734.  He  had  a  daughter,  LniGiA  Maria  Rosa, 
who  also  distinguished  herself  as  a  landscape 
painter.     She  died  in  1759. 

ALBORESI,  GiACOMO,  a  Bolognese  painter,  who 
was  born  in  1632,  was  a  scholar  of  Domenico  Santi 
and  Agostino  MeteUi.  He  painted  historical  subjects, 
but  was  more  celebrated  for  his  pictures  of  archi- 
tectural views.  He  worked  chiefly  in  fresco,  and 
in  conjunction  with  Fulgenzio  Mondini,  painted  for 
the  church  of  San  Petronio,  at  Bologna,  the  '  Death 
and  Canonization  of  St.  Anthony  of  Padua.'  In 
the  church  of  San  Giacomo  Maggiore,  he  painted 
some  subjects  of  perspective,  in  which  the  figures 
were  by  Bartolommeo  Passarotti.  He  died  at 
Bologna  in  1677.  He  also  worked  in  conjunction 
with  Antonio  Maria  Pasio,  in  the  cathedral  at 
Florence. 

ALBORN.     See  Ahlborn. 

ALBRECHT,  Balthasae  Adgustin,  who  was 
bom  at  Berg,  near  Aufkirchen  in  Bavaria,  in  1687, 
was  a  pupil  of  Nikolaus  Gottfried  Stuber,  and 
studied  in  Venice  and  Rome.  On  his  return  to  his 
native  country  in  1719,  he  became  popular  as  an 
historical  painter,  and  was  appointed  court-painter 
and  inspector  of  the  Picture  Gallery  at  Munich, 
where  he  died  in  1765.  The  churches  and  galleries 
of  Bavaria  possess  many  paintings  by  him. 

ALBRECHT,  C,  an  obscure  German  engraver, 
of  Berlin,  mentioned  by  Heineken.  He  worked 
only  for  the  booksellers,  and  his  plates  are  so 
indifferent,  that  they  are  not  considered  by  that 
author  worthy  of  being  specified. 

ALBRIZZI.    See  Albebici. 


ALCAZAR.     See  Paret  y  Alcazar. 

ALDB,  H.  VAN.    See  Aldewereld. 

ALDEGREVER,  Heinbich  (or  Alde  Gravk). 
This  celebrated  artist  was  bom  in  1502,  in  .  . 
Westphalia,  probably  at  Pader  bom,  where  /pA' 
his  parents  resided,  but  he  lived  chiefly  -^  ^ " 
at  Soest.  Albert  Rosenberg,  the  latest  German 
writer  on  the  '  Little  Masters,'  considers  he  never 
was  a  pupil  of  Diirer,  nor  ever  even  visited 
Nuremberg,  though  Van  Mander  reports  that  he 
painted  two  wings  for  an  altar-piece  in  a  church 
there.  His  works  show,  however,  that  he  was  muck 
influenced  by  Diirer's  practice,  and  also  by  that  of 
Barthel  Beliam  and  Georg  Pencz.  On  his  return 
to  his  own  country,  he  applied  himself  at  first 
entirely  to  painting ;  and,  according  to  Fiissli, 
painted  some  pictures  for  the  churches  and  con- 
vents, which  have  not  been  identified. 

The  following  is  a  list  of  his  few  known  paint- 
ings : 

Berlin.      Museum         Portrait    of    Engelbert    Therlaen. 

1551. 
Breslau.  Art  Club.        Portrait  of  Count  Philipp  of  Wal- 

deck  (dated  1535). 
Brimswick.  Museum.     Portrait    of    Magdalena    Wittig. 

1541. 
Prag:ue.    Museum.         Clirist  sitting  on  his  tomb.    1529. 
Vienna.    Liechtenstein  Portrait  of   a  young  man  (dated 
Gallery.  1544;  j^erkaps  his  best). 

After  a  few  years  ho  devoted  himself  entirely 
to  engraving,  and  in  that  branch  acquired  a  dis- 
tinguished reputation  amongst  those  artists  who 
are  called  the  Little  Masters,  from  their  having 
generally  engraved  plates  of  a  small  size.  He 
died,  it  is  supposed,  at  Soest,  in  1558.  His  execu- 
tion is  uncommonly  neat ;  he  worked  entirely 
with  the  graver,  in  a  style  that  is  evidently 
founded  on  that  of  Albrecht  Diirer,  and  his  plates 
are  finished  with  great  precision  and  delicacy 
His  design  was  full  of  invention,  and  his  drawing 
shows  more  of  the  Italian  Renaissance  influence, 
than  that  of  many  contemporary  German  artists. 
He  usually  marked  his  plates  with  the  cipher  given 
above.  His  engravings  are  very  numerous,  exceed- 
ing three  hundred.  They  bear  dates  from  1522 
to  1555,  the  latest  authentic  date  on  any  of  his 
works.  The  following  is  as  general  a  list  of 
them  as  the  nature  of  this  work  will  admit,  and 
comprises  all  his  principal  plates :  for  fuller  in- 
formation the  inquirer  is  referred  to  the  minute 
descriptions  to  be  found  in  Heineken,  Bartsch's 
'  Peintre  Graveur,'  and  Meyer's  '  Kiinstler- 
Lexikon.' 

portraits. 

Aldegrever,  without  a  beard ;  Aldegrevera.    Mta.tia  28. 
1530. 

The  same,  with  a  thick  beard.     Anno  1537.     .^tatis 
suse  15. 

Bust  of  Martin  Luther.     1540. 

Bust  of  Ptiilip  Melancthon.     1540. 

Albert  von  der  Helle.     1538. 

"Wilhelm,  Herzog  von  Jiihch,     1540. 

Johann  van  Leyden,  cliief  of  the  Anabaptists. 

Berohard  Knipperdollinck,  the  fanatic. 

VARIOUS   SUBJECTS. 

Six — Of  Adam  and  Eve  driven  out  of  Paradise.     1540. 

Four — Of  the  History  of  Lot.     1555. 

Four — Of  the  History  of  Joseph  and  his  Brethren.  1532. 

Seven — Of  the  History  of  Thamar  and  Absalom.  1540. 

David  and  Bathsheba.     1533. 

The  Judgment  of  Solomon.     1555. 

Judith  with  the  Head  of  Holofemes.     1528. 

Four— Of  the  History  of  Susannah.     1555. 

15 


A  BIOGRAPHICAL  DICTIONARY  OF 


Four— Of  the  Parable  of  the  good  Samaritan.     1554. 

Five — Of  the  Rich  Man  and  Lazarus.     1554. 

The  Four  Evangelists.     1539. 

The  Adoration  of  the  Shepherds.     1553. 

The  Virgin  and  Infant,  reposing  under  a  tree.     1527. 

The  Virgin  carrying  the  Infant  Jesus,  with  a  standard. 

1553. 
Medea  and  Jason.     1529. 
Eomulus  and  Remus  taken  from  their  mother,  Bhea 

Sylvia. 
Tarquin  and  Lucretia.     1539. 
Sophonisba  taking  the  Poison.     1553. 
Marcus  Curtiiis  about  to  leap  into  the  Gulf.     1532. 
Mutius  ScKvola  before  Porsena.     1530. 
Titus  Manlius  ordering  his  Son  to  be  decapitated.    1553. 

It  is  curious  to  observe  that  in  this  print,  as  well 

as  in  one  of  the  same  subject  by  Georg  Pencz,  the 

instrument  of  execution  resembles  the  guillotine  used 

in  France  during  the  Revolution. 
The  Count  d'Archambaud  destroying  his  Son  before  his 

Death ;   inscribed  Fater  ne  post  suam  mortem,  SfC. 

1553. 
Hector  in  Combat ;  small  frieze.     1532. 
The  Battle  of  Hannibal  and  Scipio.     1538. 
Seven— The  Divinities  that  preside  over  the  Planets. 

1553. 
Thirteen — The  Labours  of  Hercules;  fine,  and  scarce. 

1550. 
Orpheus  and  Eurydice ;  the  only  etching  by  this  master ; 

very  scarce.     1528. 
Fourteen  small  plates  of  different  allegorical  subjects. 

1549  and  1550. 
Seven— Of  the  Virtues.     1552. 
Seven— Of  the  Vices.     1552. 

Eight— Of  the  Empire  of  Death  over  Humanity.    1541. 
Twelve — Of  the  Procession  of  a  "Westphalian  Wedding. 

1538. 
Eight — Of  a  similar  subject.    1551. 
Six — Of  Death  dragging  away  persons  of  both  sexes. 

1562. 
A  "Woman  holding  an  hour-glass,  with  a  skull  and  a 

globe,  on  which  is  inscribed  Respice Jinem.    1529. 
A  Woman  with  wings,  standing  on  a  globe,  holding  the 

symbols  of  prudence  and  temperance.    1555. 
An  OflBcer  carrying  a  flag.     1540. 
A  Man  with  a  sword,  surprising  a  monk  and  a  nun. 

Dated  1530.    Very  rare. 
Monk  and  Nun.     1532. 
The  Society  of  Anabaptists,  with  a  number  of  figures  in 

a  bath.    This  is  engraved  by  Virgil  Solis  after  Aldc- 

yrever. 

Also  three  sets  of  wedding  processions,  one 
of  twelve  prints,  the  others  of  eight  each;  and 
ninety-nine  beautiful  vignettes,  and  other  orna- 
ments. These  last  connect  him  with  the  gold- 
smith's art.  A  good  collection  of  his  engravings 
may  be  seen  in  the  Print  Room  at  the  British 
Museum.  W.  B.  S. 

ALDENRATH,  Heinrich  Jakob,  who  was  bom 
at  Lubeck  in  1775,  was  a  portrait  painter,  a 
miniaturist,  and  a  lithographer.  He  received  in- 
struction from  Johann  Jakob  Tischbein  and  from 
Friedrich  Karl  Groger,  with  whom  he  commenced 
a  friendship  which  was  only  severed  by  Groger's 
death  in  1838.  Together  they  visited  the  Academies 
of  Berlin,  Dresden,  and  Paris  ;  and  after  sojourns 
in  Liibeck,  Kiel,  and  Copenhagen,  they  finally 
settled  at  Hamburg  in  1814,  and  became  cele- 
brated as  portrait  painters.  Aldenrath  died  in 
Hamburg  in  1844.  It  is  said  that  he  painted  the 
portrait  of  the  King  of  Denmark  no  less  than 
thirteen  times.  Among  his  lithographs  may  be 
mentioned  the  following : 

His  own  Portrait. 
Portrait  of  Friedrich  Karl  Groger. 
Portrait  of  Klopstock,  the  poet. 
Portrait  of  Count  Stolberg,  the  poet. 
Portrait  of  Adolphus,  Duke  of  Cambridge. 

ALDEWERELD,  H.  van,  a  Dutch  painter,  who 
16 


flourished  at  Amsterdam  about  the  middle  of  the 
17th  century,  was  chiefly  engaged  in  painting 
portraits,  generally  of  celebrated  personages, 
several  of  which  have  been  engraved.  He  occa- 
sionally painted  genre  pictures.  He  is  frequently 
called  in  error,  H.  van  Aide,  because  he  was  accus- 
tomed to  sign  his  name  H.  van  Aide,  with  the 
addition  of  a  sketch  of  a  world,  which  was  over- 
looked. 

ALDIGHIERO  da  ZEVIO.      See  Altichikko 

DA  ZevIO. 

ALDIVERTI,  Alfonso,  the  son  of  a  notary, 
flourished  in  the  early  part  of  the  17th  century  at 
Rovigo.  He  painted  in  the  church  of  Santa  Maria 
deUa  Neve,  scenes  from  the  Life  of  Christ.  The 
'Christ  Condemned'  is  signed  and  dated  1615. 
Bartoli  says  of  these  works,  that  they  are  painted 
in  an  antique  style,  and  remind  one  of  Diirer's 
engravings.  He  also  painted  a  '  St.  Charles  Bor- 
romeo,'  in  San  Bartolommeo,  in  Rovigo. 

ALDROVANDINI,  Pompeo,  son  of  Mauro,  and 
cousin  and  pupil  of  Tommaso,  was  bom  at 
Bologna  in  1677.  He  was  employed  much  in 
the  churches,  palaces,  and  theatres  of  Dresden, 
Prague,  and  Vienna,  and  executed  many  excellent 
works  in  oil,  in  fresco,  and  in  distemper.  He 
died  at  Rome  in  1735. 

ALDROVANDINI,  Tommaso,  the  son  of  Giu- 
seppe Aldrovandini,  an  architectural  painter,  was 
born  at  Bologna  in  1653.  He  was  instructed  in  the 
first  principles  of  design  by  his  uncle  Mauro  Aldro- 
vandini, an  eminent  painter  of  the  same  subject. 
Tommaso's  talent  lay  in  painting  perspective  views 
and  architectural  subjects,  in  which  the  figures 
were  painted  by  Marc  Antonio  Francescliini  and 
Carlo  Cignani,  to  whose  pictures  he  in  return 
painted  architectural  backgrounds ;  he  also  studied 
figure  painting  under  Cignani.  He  decorated 
churches,  palaces,  and  theatres  in  many  of  the 
principal  cities  of  Italy — ForU,  Verona,  Venice, 
Parma,  Turin,  Ferrara,  and  Genoa,  and  especially 
in  his  native  Bologna.  His  most  considerable 
work  was  the  Council  Chamber  of  the  Ducal 
Palace  at  Genoa,  which  he  executed  in  conjunc- 
tion with  Franoeschini ;  it  has  since  been  de- 
stroyed by  fire.     He  died  in  1736. 

ALE,  GiLLES  (or  Hallet),  of  Liege,  flourished 
in  the  latter  half  of  the  17th  century,  and  was 
distinguished  for  the  purity  of  his  style,  accord- 
ing to  the  principles  of  the  Roman  school.  He 
painted  in  conjunction  with  Morandi,  Bonatti,  and 
Romanelli ;  and  executed  an  altar-piece  in  oil,  and 
the  ceilings  of  the  chapels  in  fresco,  for  the 
church  of  Santa  Maria  dell'  Anima  in  Rome.  He 
died  in  1689.  Most  of  the  paintings  by  him  in 
Liege  were  destroyed  when  the  French  bom- 
barded that  town  in  1691. 

ALEFOUNDER,  John,  a  student  of  the  Royal 
Academy  Schools,  practised  for  some  time  in 
London  the  art  of  portraiture,  occasionally  in 
miniature.  He  subsequently  went  to  India,  and 
died  in  1795  at  Calcutta,  from  the  effects  of  the 
climate.  In  1784  Bartolozzi  engraved  the  portrait 
of  '  Peter  the  Wild  Boy,'  after  him,  and  in  the 
same  year  Hodges  engraved  his  portrait  of  J. 
Edwin  the  Actor. 

ALEKSYEEV,  Feodor  Jakovlevich,  'the 
Russian  Canaletto,'  was  bom  at  St.  Petersburg  in 
1757.  After  he  had  received  an  education  in  the 
Academy  of  his  native  city  he  went  to  Venice  for 
the  improvement  of  his  art.  On  his  return  to 
Russia,  he  rose  to  great  fame  as  a  painter  of  archi- 


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PAINTERS  AND  ENGRAVERS. 


tectural  views,  and  was  much  employed  by  the 
emperor  and  nobility  of  Russia  to  decorate  their 
palaces.  He  died  in  St.  Petersburg  in  1824.  The 
Hermitage  possesses  good  examples  of  his  views 
of  Moscow,  which  are  considered  his  best  pro- 
ductions. 

ALEMANI,  Gaetano  (or  Alamanni),  a  painter 
of  Bologna — who  distinguished  himself  in  various 
styles,  particularly  in  architectural  and  ornamental 
painting  for  the  decoration  of  churches  and  theatres 
— flourished  in  the  latter  half  of  the  18th  century. 
He  died  in  1782. 

ALEMANNO,  Giovanni  (or  Alamannus),  was 
also  called  Giovanni  da  Mueano  (one  of  the 
Venetian  Isles).  He  is  supposed  from  the  former 
name  to  have  been  a  German.  He  worked  in 
conjunction  with  Antonio  da  Murano.  Between 
them  they  executed  two  pictures  now  in  the 
Academy  at  Venice  ;  a  '  Coronation  of  the  Virgin,' 
signed  and  dated,  Joanes  et  Antonids  de  Mdri- 
ANO  F.,  Mccccxxxx.,  and  a  'Madonna  and  Child 
enthroned,'  signed  and  dated  1446,  Johannes 
Alamannus  Antonids  da  Moriano  Fe.  Several 
pictures  by  them  are  still  in  the  chapel  of  San 
Tarasio  in  San  Zaccaria  at  Venice.  Alemanno  is 
known  to  have  painted  from  1440  till  1447,  after 
which  year  there  is  no  record  of  him. 

ALEMANNO,  Justus  d'  (or  Allamagna),  a 
German  painter,  who  practised  at  Genoa  in  the 
15th  century.  He  painted  in  fresco  an  'Annunci- 
ation' in  a  cloister  of  Santa  Maria  di  Castello,  in 
1451  ;  Lanzi  considers  it  a  precious  picture  of  its 
sort,  finished  in  the  manner  of  the  miniaturists, 
and  apparently  the  precursor  of  the  style  of 
Albrecht  Diirer.  Justus  d'Alemannu  is  not  the 
same  as  Justus  of  Ghent,  as  some  writers  have 
supposed. 

ALEMANNO,  Pietro,  a  painter  of  Ascoli  in  the 
latter  part  of  the  15th  century,  was  a  pupil  of  Carlo 
Crivelli.  Several  of  the  churches  of  Ascoli  possess 
paintings  by  him,  but  they  show  little  ability  either 
in  drawing  or  colour.  The  church  of  Santa  Maria 
della  Carita  has  an  altar-piece  by  him  dated  1489, 
representing  the  '  Virgin  and  Child  between  SS. 
Michael,  Blaise,  Jerome,  and  Nicholas ; '  and  in  the 
collection  of  the  late  Mr.  Barker  of  London  was  a 
'  Virgin  and  Child,  enthroned.'  No  exact  inform- 
ation can  be  given  of  the  dates  of  his  birth  or 
death. 

ALEMANS.     See  Hallemans. 

ALEN,  Jan  van,  a  Dutch  painter,  was  born 
at  Amsterdam  in  1651.  He  was  an  imitator  of 
Melchior  Hondekoeter,  and  his  pictures,  like  those 
of  that  master,  represent  fowls,  landscapes,  and 
etill-life.  Though  inferior  to  Hondekoeter,  he 
painted  those  objects  with  great  fidelity.  He 
also  imitated  other  masters  of  the  period  with  so 
much  success  that  his  copies  have  often  passed 
for  originals.     He  died  in  1698. 

ALENI,  Tommaso  de,  called  II  Fading,  was 
born  at  Cremona,  and,  according  to  Orlandi,  was 
a  disciple  of  Galeazzo  Campi.  He  was  also 
influenced  by  the  works  of  Perugino.  He  painted 
history  in  the  style  of  his  instructor,  and  his  works 
in  San  Domenico,  at  Cremona,  where  he  was  em- 
ployed with  Campi,  are  so  much  in  the  manner  of 
that  master  that  it  is  diflSoult  to  distinguish  them. 
Neither  the  date  of  Aleni's  birth  nor  that  of  his 
death  is  known.  Orlandi  says  he  was  born  in 
1500,  but  a  picture  signed  by  him  bears  that  date. 
It  is  a  '  Madonna  and  Child  with  Saints,'  in  the 
Bignani  Collection,  Castel  Maggiore.  Another,  a 
c 


'Nativity,'  signed  and  dated  1515,  formerly  in 
the  church  of  San  Domenico,  is  in  the  town-hall 
of  Cremona. 

ALENZA,  Leonardo,  a  Spanish  painter  and 
etcher,  was  bom  at  Madrid  in  1807.  He  studied 
art  under  Juan  Rivera  and  Jos^  de  Madrazo,  and 
became  a  good  portrait  painter,  but  was  more 
especially  famous  for  his  pictures  of  the  habits  of 
the  lower  classes.  He  became  a  member  of  the 
Academy  of  Madrid  in  1842  ;  and  died  there  three 
years  later. 

ALEOTTI,  Antonio,  a  Ferrarese  painter,  who 
flourished  at  the  end  of  the  15th  century,  was  a 
native  of  Argenta.  He  is  prob-ibly  identical  with 
Antonio  dall'  Argento,  who  lived  in  1495,  and 
painted  the  frescoes  in  the  Chiesa  della  Morte  in 
Ferrara. 

ALESIO,  Matteo  Perez  de,  called  by  Baglione 
Matteo  ta  Leccio.  This  painter  was  born  in 
1547,  and  studied  under  Michelangelo.  He  was 
a  Roman  by  birth,  but  he  is  chiefly  known  by 
the  works  he  executed  in  Spain,  whither,  in 
1583,  he  had  been  induced  to  migrate  by  the 
liberal  protection  bestowed  on  art  by  Philip 
II.  It  does  not,  however,  appear  that  he  went 
thither  by  the  invitation  of  the  king,  or  that  he 
was  employed  by  that  monarch  in  the  Escurial. 
His  principal  works  are  his  fresco  paintings  in 
the  churches  at  Seville.  His  manner  of  designing 
partakes  of  the  grandeur  of  Michelangelo.  The 
most  remarkable  performance  of  Alesio  is  a 
colossal  picture,  painted  in  fresco,  in  1584,  in 
the  cathedral  at  Seville,  representing  St.  Chris- 
topher carrying  the  Infant  Saviour  on  his  shoulder. 
It  is  of  prodigious  dimensions,  the  figure  of  St. 
Christopher  being  nearly  forty  feet  high.  Palo- 
mino speaks  of  this  enormous  production  in  very 
high  terms.  He  painted  in  1587  the  same  sub- 
ject for  the  church  of  San  Miguel,  and  he  also 
painted  in  other  public  edifices  at  Seville.  After 
residing  some  years  in  Spain,  he  is  said  to  have 
quitted  it  on  account  of  the  preference  given  to 
the  works  of  Luis  de  Vargas,  whose  superiority 
the  candour  of  Alesio  induced  him  to  be  one  of 
the  first  to  acknowledge.  Palomino  says  that  Alesio 
returned  to  Rome  and  died  there  about  the  year 
1600.  Baglione,  on  the  other  hand,  tells  us  tliat, 
after  having  acquired  great  riches  in  the  West 
Indies,  he  died  there  in  poverty. 

ALESSANDRI,  Innocente,  an  Italian  engraver, 
was  born  at  Venice  about  the  year  1740,  and  was 
instructed  by  F.  Bartolozzi,  before  tliat  artist  left 
Italy.  He  has  executed  several  prints  in  line, 
aquatint,  and  chalk,   among  which   are   the   fol- 


Four  prints,  representing  Astronomy,  Geometry,  Music, 
and  Painting;  after  Domenico  Maggiotio. 

The  Virgin  Mary,  witti  the  guardian  angel  and  the 
souls  in  Pll^g.^tory ;  after  Seh.  Sicci. 

The  Virgin  Mary  with  a  glory  of  angels ;  after  Piaz- 
zetta. 

The  Annunciation ;  after  F.  le  Maine. 

The  Flight  into  Egypt ;  after  the  same. 

Two  Landscapes ;  after  Marco  Ricci. 

Two  series  of  Twelve  Landscapes;  after  the  same, 

ALESSANDRINO.    See  Magnasco,  Alessandro. 

ALESSANDRO  and  JULIO,  two  painters  of 
Italian  origin,  of  whom  little  is  known,  were  sup- 
posed to  have  been  brothers  and  fellow-pupils 
under  Giovanni  da  Udine.  In  the  early  part  of 
the  16th  century,  they  painted  in  the  Alliambra, 
Granada,  and  elsewhere  in  Spain,  frescoes  in  the 

17 


A  BIOGRAPHICAL  DICTIONARY  OP 


manner  of  Raphael,  which  had  much  influence  on 
the  style  of  art  in  Andalusia. 

ALESSON.     See  Ekemann-Alesson. 

ALEWIJN,  Jan,  an  amateur  painter,  who  made 
many  drawings  after  the  pictures  of  the  old  masters. 
He  resided  at  Amsterdam  and  at  Utrecht,  where 
he  died  in  1839.  He  had  a  son  named  DiRK,  a 
landscape  painter,  who  was  bom  at  Amsterdam  in 
1800,  and  died  there  in  1842. 

ALEXANDER,  John.  This  painter  and  etcher, 
a  descendant  of  George  Jamesone,  was  a  native 
of  Scotland.  He  went  to  Italy  and  studied  in 
Florence  ;  he  practised  engraving  at  Rome  about 
the  year  1718.  His  prints  are  slight  etchings,  prin- 
cipally after  Raphael,  not  very  correctly  drawn, 
and  but  very  indifEerently  executed.  He  returned 
to  Scotland  in  1720,  and  painted  several  historical 
pictures.  On  the  staircase  of  Gordon  Castle  is 
the  '  Rape  of  Proserpine  '  by  him.  Alexander  died 
about  the  middle  of  the  18th  century.  He  en- 
graved a  portrait  of  George  Jamesone,  and  six 
plates  after  the  frescoes  of  Raphael  in  the  Vatican. 

ALEXANDER,  William,  an  English  water- 
colour  draughtsman,  was  bom  at  Maidstone  in 
1767.  He  accompanied  Lord  Macartney  to  China, 
and  made  drawings  of  the  scenery  and  customs 
of  tljat  country  to  illustrate  Sir  George  Staunton's 
'  Historical  Account  of  the  Embassy.'  He  also 
published  a  work  on  the  Costume  of  China,  and 
another  on  the  Punishments  of  China.  In  1802 
he  was  made  teacher  of  drawing  at  the  Roy;il 
Military  College  at  Great  Marlow  ;  and  afterwards, 
in  1808,  assistant-keeper  of  the  antiquities  in  the 
British  Museum,  in  which  capacity  he  had  charge 
of  the  collection  of  prints  and  drawings.  He  like- 
wise made  the  drawings  for  the  earlier  volumes  of 
the  '  Descriptions  of  Ancient  Marbles  and  Terra- 
cottas in  the  British  Museum.'  His  designs  for 
Britton's  'Architectural  Antiquities,'  and  other 
publications,  show  considerable  talent.  Several 
of  his  water-colour  drawings  may  be  seen  in  the 
South  Kensington  Museum.     He  died  in  1816. 

ALEXEIEFF.     See  Aleksteev. 

ALFANI,  DoMENico  (di  Paris),  a  native  of  Pe- 
rugia, and  scholar  of  Perugino,  was  born,  according 
to  Pascoli,  in  1483  ;  but  all  we  know  for  certain  is 
that  his  birth  took  place  in  the  last  quarter  of  the 
15th  century.  The  earliest  work  known  by  him 
is  a  '  Madonna  and  Child  with  SS.  Gregory  and 
Nicholas,'  dated  1518,  in  the  Collegio  Gregoriano, 
at  Perugia.  His  works  bear  a  great  resemblance  to 
those  of  Raphael,  and,  were  it  not  for  the  delicacy 
of  the  colouring,  they  might  be  assigned  to  his 
school.  His  reputation  has  been  somewhat  in- 
jured by  that  of  his  son  Orazio ;  and  even  in  Pe- 
rugia some  fine  paintings  were  long  considered  to 
be  by  Orazio,  which  have  since  been  restored  to 
Domenico.  The  difficulty  of  discriminating  their 
works  is  increased  by  their  having  painted  several 
altar-pieces  in  conjimction  ;  particularly  that  at 
the  church  of  the  Conventuals  at  Perugia,  which 
is  mentioned  by  Mariotti.  '  A  Holy  Family '  in  the 
tribune  of  the  Uffizi  is  attributed  by  some  to  the 
father,  by  others  to  the  son.  Domenico  painted — 
in  conjunction  with  his  son — a  'Cracifixion'  for  San 
Francesco  at  Perugia,  in  1553,  in  which  year  he 
is  supposed  to  have  died. 

ALFANI,  Orazio  (di  Paris,  or  more  properly, 
Di  Domenico),  was  bora  at  Perugia  about  the  year 
1510.  He  was  a  scholar  of  his  father,  and  studied 
the  works  of  Raphael,  whose  graceful  manner  he 
imitated  with  such  success,  that  some  of  his  best  i 

18 


pictures  have  been  mistaken  for  the  early  pro- 
ductions of  that  master.  Orazio  is  celebrated  as 
having  been  the  first  president  of  the  Academy  of 
Perugia,  which  was  founded  in  1573.  He  died  in 
Rome  in  1583.  A  'Holy  Family,'  said  to  be  by 
him,  is  in  the  Ufiizi,  and  there  is  in  the  Louvre  a 
'  Marriage  of  St.  Catherine,'  dated  1548,  which  is 
attributed  to  him. 

ALFARO,  Arteaga  t.     See  Arteaga. 

ALFARO  T  GOMEZ,  Juan  de,  a  Spanish  painter, 
was  born  at  Cordova,  in  1640.  He  was  first  a 
scholar  of  Antonio  del  Castillo,  but  finished  his 
studies  at  Madrid  under  Velazquez,  whose  manner 
he  followed,  particularly  in  his  portraits.  He 
knew  very  little  of  design,  but  was  a  good  colour- 
ist,  having  been  employed  by  Velazquez  in  copy- 
ing the  works  of  Titian,  Rubens,  and  Van  Dijck. 
In  the  church  of  the  Carmelites  is  a  fine  picture, 
by  Alfaro,  of  the  'Incarnation  ;'  and  in  the  church 
of  the  Imperial  College  at  Madrid  is  his  celebrated 
picture  of  the  '  Guardian  Angel.'  Palomino  relates 
a  story  which  proves  that  he  possessed  more  vanity 
than  skill.  Being  employed  to  paint  subjects  from 
the  life  of  St.  Francis  for  the  cloister  of  the  convent 
of  that  name,  he  took  them  from  prints,  but  had 
the  folly  to  put  to  each  of  them  Alfaro  pinxit. 
His  first  master,  CastUlo,  to  chastise  his  vanity, 
obtained  permission  to  paint  one,  and  placed  at 
the  bottom  non  pinxit  Alfaro,  which  passed  into 
a  proverb.  He  was  fond  of  travelling,  was  well 
versed  in  literature,  wrote  poetry,  and  some  inter- 
esting notes  on  the  lives  of  Becerra,  Cespedes,  and 
Velazquez.  He  painted  the  portrait  of  Calderon, 
which  was  placed  over  the  tomb  of  the  poet  in  the 
church  of  San  Salvador  at  Madrid.  His  conduct 
towards  his  patron,  the  Admiral  of  Castille,  has 
left  a  greater  stain  on  his  memory  than  even  his 
vanity.  He  forsook  the  admiral  when  he  was 
banished,  and  meanly  solicited  his  patronage  when 
recalled  :  the  repulse  he  received  produced  melan- 
choly, and  caused  his  death,  which  took  place  in 
Madrid  in  1680. 

ALFIANO,  Epifaxio  d',  a  monk  of  San  Salvi, 
at  Vallombroso  in  Tuscany,  is  mentioned  by 
Heinecken  as  a  lover  of  the  arts,  who  amused  him- 
self with  engraving.  He  engraved  a  set  of  plates 
of  festivals  and  decorations,  dated  1592 ;  and  in 
1607  a  book  of  writing,  in  which  he  styles  himself 
'  Priore  dello  Spirito  Santo  di  Firenze.' 

ALFON,  Juan,  born  at  Toledo,  painted,  in  1418, 
several  altar-screens  for  the  cathedral  of  that  city, 
which  are  still  preserved. 

ALFOR.a;,  NiccOLO  Guglielmo.  This  engraver, 
of  whom  little  is  known,  was  a  native  of  Lorraine, 
but  resided  at  Rome.  There  is  a  set  of  twelve 
small  upright  prints  of  flowers  by  him,  which, 
although  not  very  delicately  executed,  are  done 
in  a  masterly  style  and  with  great  spirit.  They 
are  inscribed  Nicholaus  Gulielmttt  Alforce 
Lotharingus  fecit,  Romce. 

ALGARDI,  Alessandro.  This  eminent  artist 
distinguished  himself  as  an  architect,  sculptor,  and 
engraver.  He  was  born  at  Bologna  in  1602,  and 
was  educated  under  Giulio  Cesare  Conventi.  As 
an  engraver  the  few  plates  we  have  by  him  are 
executed  in  a  free,  bold,  and  open  manner, 
in  the  style  of  Agostino  Carracci.  He  died  /TJ 
in  1654.  He  generally  marked  his  plates  \£l\_i 
with  this  monogram  : 

The  following  are  attributed  to  him  : 

The  Crucifixion  ;  a  large  upright  plate. 
The  Souls  delivered  from  Purgatory ;  oval. 


PAINTERS  AND  ENGRAVERS. 


A  Blind  Beggar  and  his  dog ;  after  Carracci. 

The  Cries  of  Bologna,  after  Annibale  Carracci,  in  eighty 

plates,  engraved  by   Algardi^  in   conjunction  with 

Simon  Guillain. 

ALGAROTTI,  Conte  Francesco,  was  born  at 
Venice  in  1712.  This  eminent  writer  was  con- 
sidered one  of  the  greatest  connoisseurs  in  Europe 
in  painting,  sculpture,  and  architecture.  He  de- 
signed and  etched  for  his  amusement  several 
groups  of  heads,  one  of  which,  containing  thirteen 
heads,  in  the  style  of  the  antique,  is  dated  1744. 
The  best  edition  of  his  works  on  art  was  published 
at  Venice  in  1791-94.     He  died  at  Pisa  in  1764. 

ALGHISI.     See  Galassi. 

ALIAMET,  FRANgois-GERMAiN,  younger  brother 
of  Jean  Jacques,  was  born  at  Abbeville,  in  1734. 
After  having  learned  engraving  at  Paris,  he  came 
to  London,  and  worked  for  some  time  under  Sir 
Robert  Strange.  His  works  are  considered  in- 
ferior to  those  of  his  brother.  He  died  in  1790. 
He  engraved  several  portraits,  and  historical  sub- 
jects, of  which  the  following  are  the  principal : 

Mrs.  Pritchard,  in  the  character  of  Hennione ;   after 

Fine. 
The  Flattery  of  the  Courtiers  of  Canute  reproved; 

after  Pine. 
The    Adoration    of    the    Shepherds;    after    Annibale 

Carracci. 
The  Circumcision ;  after  Guido. 
The  Annunciation ;  after  Le  Maine. 
St.  Ignatius  kneeling;  after  the  same. 
The  Stoning  of  Stephen ;  after  Le  Sueur. 
A  Sacrifice  to  Pan  ;  after  A.  Sacchi. 
The  Surrender  of  Calais  to  Edward  III. ;  after  Pme. 
The  Bathers ;  after  Watfeau. 

ALIAMET,  Jacques,  a  clever  French  engraver, 
was  born  at  Abbeville  in  1726.  He  was  a  pupil 
of  J.  P.  le  Bas,  and  was  first  employed  in 
vignettes  for  the  booksellers,  but  he  soon  attempted 
more  important  works,  and  distinguished  himself 
by  some  plates  he  engraved  from  the  pictures 
of  Joseph  Vernet.  He  principally  excelled  in 
landscapes  and  sea-pieces,  and  was  one  of  the 
eight  engravers  who  executed  the  series  of 
'Batailles  de  la  Chine'  for  the  Emperor  of  China 
in  the  years  1765  to  1774.  His  style  of  engraving 
was  very  neat ;  he  worked  with  the  graver  and 
dry  point,  expressed  the  various  degrees  of  colour 
well,  and  carefully  avoided  any  exaggeration  of 
shadow.  He  died  in  Paris  in  1788.  The  following 
are  among  his  best  prints : 

A  Landscape,  with  figures  and  cattle;  after  Berchem. 

The  Port  of  Genoa  ;  after  the  same. 

A  Landscape,  with  a  stag-hunt ;  after  the  sam 

The  Female  Villagers;  after  the  same 

The  Village  Pleasiures  ;  after  the  snmt. 

The  Spanish  Halt ;  after  Wmwerman. 

A  Guard  of  Uhlans ;  after  the  same. 

The  Moon  rising;  ajfter  A.  van  der  Neer. 

A  View  of  Boom,  by  moonlight ;  after  the  same. 

The  Amusements  of  Winter  ;  after  A.  van  de  Velde. 

A  Storm  ;  after  Joseph  Vernet. 

A  Fog ;  after  the  same. 

A  Fire  in  a  Sea-port  by  Night ;  after  the  same. 

Two  Sea-pieces — The    Fishermen,  and    Return    from 

Fishing  ;  after  the  same 
Four — The  Four  Times  of  the  Day  ;  after  the  same. 
Two  plates  of  the  Witches'  Meetings ;'  after  Teniers. 
The  Birth  of  Venus ;  after  Jeaurat. 

ALIBERTI,  Giovanni  Carlo,  a  Piedmontese 
painter,  was  bom  at  Asti,  in  1680.  It  is  not  stated 
under  whom  he  studied  ;  but,  according  to  Lanzi, 
he  executed  several  considerable  works  in  fresco 
in  the  churches  of  his  native  city.  He  painted  the 
ceiling  of  the  church  of  Sant'  Agostino,  represent- 
ing that  saint  taken  up  into  heaven  surrounded  by 
c2 


angels  ;  and  in  the  choir  of  the  same  church,  a 
picture  of  St.  Augustine  baptizing  a  number  of 
children,  and  other  figures.  The  composition  is 
ingenious,  with  a  fine  expression  in  the  heads,  and 
embellished  with  architecture.  He  died  about 
the  year  1740.  His  style  consists  of  a  mixture 
of  Maratti,  of  Giovanni  da  San  Giovanni,  and 
of  Correggio  ;  heads  and  feet  that  might  be  attri- 
buted to  Guido  or  Domenichino ;  forms  peculiar 
to  the  Carracci,  drapery  of  Paolo  Veronese,  and 
colours  of  Guercino. 

ALIBRANDO,  Girolamo,  a  Sicilian  painter, 
called  'the  Raphael  of  Messina,' was  born  in  1470, 
and  received  his  first  instruction  in  the  school 
of  the  Antonj.  The  fame  which  Antonello  da 
Messina,  his  countryman,  liad  acquired  in  Venice, 
induced  him  to  visit  that  city,  and  he  there  re- 
ceived, for  a  short  time,  instruction  from  Anto- 
nello. He  also  enjoyed  the  friendship  of  Gior- 
gione.  He  afterwards  went  to  Milan,  where  he 
became  a  disciple  of  Leonardo  da  Vinci.  He 
then  went  to  Rome  and  studied  the  antique,  and 
the  works  of  Raphael ;  from  Rome  he  went  to 
Parma,  and  thence  back  to  Messina,  which  town 
possesses  his  best  works,  the  most  important  of 
which  was  a  large  picture  of  the  '  Presentation  in 
the  Temple,'  painted  in  1519,  for  the  Chiesa  della 
Candelora.  It  was  in  existence  in  the  early  part 
of  the  century,  but  is  now  no  longer  to  be  found. 
Alibrando  died  of  the  plague  in  1624  at  Messina. 

ALIENSE,  L'.     See  Vassilacchi. 

ALIGHIERI,  Giovanni,  a  monk  who  flourished 
in  Ferrara  about  1195,  painted  miniatures  in  the 
codex  of  Virgil  in  the  possession  of  the  Carmel- 
ites in  that  city. 

ALIGNY,    See  Caruelle  d' Align y. 

AUPRANDI,  Michelangelo,  a  painter  of 
Verona,  flourished  from  about  1560  to  1582.  He 
was  an  imitator,  if  not  a  pupil,  of  Paolo  Veronese, 
and  executed  after  the  manner  of  that  master  an 
altar-piece — the  '  Madonna  and  Child  between  St. 
Roch  and  St.  Sebastian'  — in  the  church  of  SS. 
Nazaro  e  Celso,  at  Verona,  where  it  is  still  pre- 
served. 

ALISAL.     See  Carado. 

ALIX,  Jean,  a  French  painter  and  engraver, 
born  in  Paris  in  1615,  was  a  scholar  of  Phil- 
lippe  de  Champagne,  some  of  whose  paintings 
he  engraved  in  the  style  of  Morin,  but  as  a 
painter  we  have  no  account  of  his  works.  There 
is  an  etching  by  him,  of  a  '  Holy  Family,'  after 
Raphael,  executed  in  a  very  light  and  pleasing 
style. 

ALIX,  Pierre  Michel,  born  at  Honfleur,  in 
1752,  was  a  scholar  of  Le  Bas.  He  engraved 
in  line  and  executed  in  aquatint  a  set  of  por- 
traits of  eminent  men,  which  were  printed  in 
colours,  as  well  as  a  large  portrait  of  Napoleon 
in  his  coronation  robes.  He  died  in  Paris  in  1817. 
In  Meyer's  '  Kiinstler-Lexikon  '  is  a  list  of  104  of 
his  plates — historical  pieces  and  portraits  after 
various  painters. 

ALKEN,  Henry,  a  well-known  painter  and  en- 
graver of  sporting  subjects,  published,  in  1816, 
'  The  Beauties  and  Defects  of  the  Horse  ; '  in  1821, 
'National  Sports  of  Great  Britain,'  with  fifty 
coloured  plates,  and  in  succeeding  years,  several 
similar  works.  He  also  published  in  1849,  'The 
Art  and  Practice  of  Etching,'  and  in  1869,  '  Jor- 
rock's  Jaunts  and  Jollities.' 

ALKEN,  Samuel,  worked  in  London  as  an 
engraver  in  aquatint  towards  the  close  of  the  18th 


A  BIOGRAPHICAL  DICTIONARY  OF 


century.  He  chiefly  produced  illustrations  for 
topographical  works — such  as  '  Views  in  Cumber- 
land and  Westmoreland,'  in  1796,  and  '  Views  in 
Korth  Wales,'  in  1798. 

ALLAIS,  Jean  Alexandre,  the  son  of  artistic 
parents,  was  born  in  Paris  in  1792.  His  father, 
Louis  Jean  Allais  (1762— 1833),  was  an  engraver 
of  merit,  and  his  mother,  nie  Briceau,  practised  the 
same  art.  Jean- Alexandre  studied  under  David. 
Urbain,  Massard,  and  Fusseyeux,  and  soon  became 
famous  for  his  prints,  wluch  were  for  the  most 
part  executed  in  aquatint.  He  engraved  chiefly 
after  the  works  of  Schoppin,  Jacquand,  Fragonard, 
Dubufe,  and  Leonardo  da  Vinci.  Allais  died  in 
Paris  in  1850. 

ALLAMAGXA.    See  Alemanno,  Justus  d'. 

ALLAN,  David,  a  Scotch  painter,  was  bom  at 
Alloa,  in  1 744.  He  received  the  rudiments  of  his  art 
in  the  Academy  at  Glasgow,  founded  by  Kobert  and 
Andrew  Foulis,  the  printers.  He  went  to  Italy  in 
1764,  to  pursue  his  studies,  and  gained  in  1773  at 
Rome  the  prize  medal,  given  by  the  Academy  of 
St.  Luke  for  the  best  historical  composition,  by  liis 
'  Corinthian  Maid  drawing  the  shadow  of  her  lover.' 
He  resided  there  for  nearly  fourteen  years,  and 
painted  landscapes  in  the  style  of  Gaspar  Poussin. 
He  returned  in  1777,  and  supported  himself  by 
portrait  painting  in  London  until  1780,  soon  after 
which  he  settled  in  Edinburgh,  wliere  he  was  made, 
in  1786,  master  of  the  Academy.  He  died  near 
Edinburgh  in  1796.  Allan  is  sometimes  called  the 
'  Hogarth  of  Scotland.'  He  made  in  1787  four 
humorous  drawings  of  the  Sports  of  the  Carnival 
at  Rome,  which  were  engraved  by  Paul  Sandby. 
He  also  designed  and  engraved  a  series  of  illustra- 
tions to  Allan  Ramsay's  'Gentle  Shepherd,'  pub- 
lished in  1788,  and  etched  some  plutes  for  the 
'  Songs  of  the  Lowlands  of  Scotland,'  publislied 
in  1798.  David  Allan's  portrait,  by  himself,  is  in 
the  Scottish  National  Gallery. 

ALLAN,  Sir  William,  was  bom  in  Edinburgh, 
in  1782,  and  was  in  the  first  instance  apprenticed 
to  a  coach  painter,  but  afterwards  studied  some 
years  at  the  'Trustees'  Academy  in  the  above-named 
city,  where  he  was  the  feUow-student  of  David 
Wilkie,  and  John  Burnet  the  engraver.  Allan  was 
tlie  first  of  the  triumvirate  to  make  his  way  to  Lon- 
don. He  began  by  taking  Opie  for  his  model, 
imitating  him  very  closely  in  a  picture,  called  '  A 
Gipsy  Boy  and  Ass,'  whicli  was  exliibited  at  the 
Royal  Academy  in  1805.  In  this  year,  disap- 
pointed of  the  success  he  had  looked  for  in  the 
metropolis,  he  went  to  St.  Petersburg,  where, 
through  the  kind  ofiices  of  Sir  Alexander  Crichton, 
tlien  physician  to  the  imperial  fiimily,  he  met 
with  considerable  patronage  as  a  portrait  painter. 
He  afterwards  visited  the  interior  of  Russia, 
Tartary,  and  Turkey,  where  he  collected  materials 
for  many  original  and  characteristic  works,  which 
he  afterwards  painted,  illustrative  of  the  scenery 
and  customs  of  eastern  Europe.  In  1809  he  sent 
a  picture  to  the  Royal  Academj'  called  '  Russian 
Peasants  keeping  tlieir  Holiday,'  but  this  did  not 
attract  much  attention  ;  and  he  did  not  again  con- 
tribute to  the  Exliibition  for  the  next  six  years. 
In  1814  he  returned  to  London,  and  in  1815 
exhibited  his  picture  of  '  Circassian  Captives,' 
now  in  the  possession  of  the  Earl  of  Wemyss. 
This  was  followed  by  '  A  Circassian  Chief  selling 
to  a  Turkish  Pasha  captives  of  a  neighbouring 
tribe  taken  in  war,'  and  others  of  similar  scenes 
which   the   artist   had    witnessed   in   his  travels. 

20 


But  these  productions  did  not  sell  at  the  time 
(some  of  them  are  now  in  the  possession  of  the 
Emperor  of  Russia),  and  the  artist  was  so  dis- 
heartened that  he  talked  of  retiring  to  the  wilds 
of  Circassia,  when  Sir  Walter  Scott  stepped  in, 
and  started  a  lottery  of  one  hundred  subscribers 
of  ten  guineas  each  for  the  last-named  picture, 
which,  although  the  list  was  not  entirely  filled, 
put  a  considerable  sum  into  Allan's  pocket.  This 
happy  circumstance  caused  him  to  alter  his  views, 
and  remain  at  home,  enjoying  the  patronage  of 
such  friends  as  the  great  novelist  introduced  to 
him.  He  now,  with  tne  sole  exceotion  of  a 
picture  of  '  Tartar  Robbers  dividing  their  Spoil,' 
adopted  a  class  of  subjects  wholly  difEerent  from 
those  he  had  attempted  before  ;  as,  '  A  Press  Gang,' 
'  The  Parting  between  Prince  Charles  Stuart  and 
Flora  Macdonald  at  Portree,'  and  '  Jeannie  Deans's 
first  Interview  with  her  Father  after  his  return 
from  London;'  he,  however,  still  made  but  little 
progress  in  public  favour,  and  again  he  was 
almost  giving  way  to  despair,  when  his  sketch  of 
'  The  Murder  of  Archbishop  Sharp  on  Magus 
Muir,'  so  admirably  described  in  '  Old  Mortality,' 
attracted  the  notice  of  Sir  Walter  Scott,  who  en- 
couraged him  to  make  a  picture  of  it,  which  was 
purchased  by  Mr.  Lockhart,  and,  beingengraved,was 
pubUshed  with  much  success.  Allan  now  resolved 
to  devote  himself  entirely  to  subjects  of  Scottish 
history ;  and  his  next  work  of  consequence  was 
'  John  Knox  admonishing  Mary  Queen  of  Scots 
on  the  day  when  her  intention  to  marry  Damley 
had  been  made  public,'  exhibited  at  the  Royal 
Academy  in  1823,  and  well  known  by  the  fine  en- 
graving of  it  by  Burnet.  This  was  followed  in 
1824  by  'Sir  Patrick  Lindesey  of  the  Byres  and 
Lord  William  Ruthven  compelling  Mary  Queen  of 
Scots  to  sign  her  abdication,'  and  in  1825  by  'The 
Regent  Murray  shot  by  Hamilton  of  Bothwell- 
haugh,'  which  was  exhibited  at  the  Royal  Academy, 
and  bought  by  the  Duke  of  Bedford  for  800  guineas. 
This  picture  procured  Allan's  election  as  an  Asso- 
ciate of  the  Academy.  The  works  which  next 
followed  from  his  pencil  were  of  unequal  merit. 
Amongst  the  best  were,  in  1831,  '  Lord  Byron 
reposing  in  the  house  of  a  Turkish  Fisherman, 
after  swimming  across  the  Hellespont,'  and  a 
'  Portrait  of  Sir  Walter  Scott  sitting  in  his  study 
reading  the  proclamation  of  Mary  Queen  of  Scots 
previously  to  her  marriage  with  Damley '  (en- 
graved by  Bumet).  In  1833  ne  produced  a 
picture  entitled  '  The  Orphan,'  and  representing 
Anne  Scott  seated  on  the  floor  near  her  father's 
chair  at  Abbotsford.  This  was  bought  by  Queen 
Adelaide,  and  is  now  in  the  Royal  Collection  at 
Buckingham  Palace.  Allan  paid  a  second  visitto  the 
Continent  in  1830,  and  in  1834  visited  Spain.  His 
picture  called  '  'The  Moorish  Love  Letter,'  and 
other  characteristic  productions  now  exhibited, 
secured  his  promotion  to  the  rank  of  Roj'al  Acade- 
mician in  1835.  In  1838  he  was  chosen  to  fiD  the 
presidential  chair  of  the  Royal  Scottish  Academy, 
rendered  vacant  by  the  death  of  George  Watson ; 
and  in  1841  he  succeeded  Sir  David  Wilkie  as 
Limner  to  the  Queen  for  Scotland,  an  office  which 
entitles  the  holder  to  the  honour  of  knighthood, 
and  a  small  salary.  In  1843  Sir  William  Allan 
exhibited  at  the  Royal  Academy  his  picture  of 
'  The  Battle  of  Waterloo,'  which  was  purchased 
by  the  late  Duke  of  Wellington.  He  exhibited 
another  and  larger  picture  of  the  same  subject 
at   the    Fine   Arts   competition    in   Westminster 


PAINTERS  AND  ENGRAVERS. 


Hall  in  1843,  which,  however,  to  his  great  dis- 
appointment, found  no  purchaser.  In  the  former 
picture  Napoleon  is  the  principal  figure  in  the 
foreground  ;  in  the  latter  tlie  Duke  of  Welling- 
ton. In  1844  he  revisited  St.  Petersburg,  and, 
on  his  return,  painted  for  the  Emperor  Nicholas 
a  picture  of  '  Peter  the  Great  teacliing  his  sub- 
jects the  Art  of  Ship-building,'  which  was  ex- 
hibited in  London  in  1845,  and  is  now  in  the 
Winter  Palace  at  St.  Petersburg.  Sir  WiUiani 
died  in  his  painting-room  at  Edinburgli  before  a 
large  unfinished  picture  of  '  The  Battle  of  Ban- 
nockburn,'  in  1850.  This  picture  is  now  in  the 
National  Gallery  of  Scotland.  Besides  his  other 
titles,  he  held  those  of  Honorary  Member  of  the 
Academicians  of  New  York  and  Philadelphia.  His 
excellence  as  a  painter  consisted  chiefly  in  con- 
siderable dramatic  power  in  telling  a  story,  and  in 
skilful  composition.  As  a  colourist  he  was  deficient. 
In  the  National  Gallery  is  a  single  example  of  his 
pencil,  '  Tartar  Bobbers  dividing  their  Spoil,' 
which  was  painted  in  1817  (Loan  Collection),  and 
which  has  been  engraved  by  J.  Stewart,  and  by 
J.  T.  Smyth. 

ALLARD,  Abraham,  an  engraver  and  print- 
seller.  There  are  twelve  views  of  the  towns  of 
Friesland  engraved  by  this  artist ;  and  in  the 
British  Museum  is  a  large  print,  representing 
the  Garden  of  Love,  entitled  Het  Lust  Hof  van 
Flora  ;  partly  etched  and  finished  with  the  graver 
in  a  stiff,  clumsy  style,  inscribed  A.  Allart  cecinit. 
C-  Allart  edit.  He  lived  at  Amsterdam  towards 
the  close  of  the  17th  and  the  beginning  of  tlie 
18th  century. 

ALLARD,  Carel,  an  engraver  and  printseller, 
who  executed  a  number  of  mezzotint  portraits  of 
English  celebrities,  after  the  paintings  of  Lely. 
There  are  in  the  British  Museum  four  plates  of 
'The  Seasons,'  represented  in  half-length  figures, 
executed  in  a  coarse,  heavy  style,  without  any 
taste.  He  flourished  at  Amsterdam  toward  the 
close  of  the  17th,  and  the  beginning  of  the  18tli 
century. 

ALLAHD,  HniJCH,  a  Dutch  engraver,  flourished 
at  Amsterdam  in  the  latter  part  of  the  17th  century. 
By  him  we  have  '  The  Flight  of  King  James  after 
the  Battle  of  the  Boyne,'  1690  — //w(/o  Allard, 
fecit,  Carolus  Allard,  excudit — and  some  portraits, 
amongst  which  is  that  of  Adriaan  Pauw,  one  of 
the  negotiators  of  the  peace  of  Miinster. 

ALLARD,  Jean  Pierre  Eugene,  a  French  his- 
torical and  portrait  painter,  was  born  at  Lj'ons  in 
1829.  He  studied  under  Flandrin  and  Jannot,  and 
afterwards  went  to  Rome,  where  he  was  assassin- 
ated in  his  studio  in  1864. 

ALLEGRAIN,  Etienne,  a  French  landscape 
painter,  born  in  Paris  in  1644,  painted  works  which 
were  much  esteemed.  Two  landscapes  by  him  are 
in  the  Louvre — one  of  which  was  formerly  ascribed 
to  Millet — and  several,  in  the  manner  of  Fran- 
cisque  Millet,  are  at  Versailles.  At  the  Hermitage 
at  St.  Petersburg  is  a  '  Landscape,  with  the  find- 
ing of  Moses.'     He  died  in  1736  in  Paris. 

ALLEGRAIN,  Gabriel,  born  in  Paris  in  1679, 
son  and  pupil  of  Etienne,  painted  in  the  manner 
of  his  father:  he  died  in  1748.  He  exhibited 
at  the  Salon  from  the  year  1737  to  1747,  missing 
a  year  occasionally.  There  are  by  him  at  Ver- 
sailles views  of  the  gardens  of  Versailles,  of  the 
chateau  of  St.  Germain-en-Laye,  and  of  the 
chftteau  of  Vincennes. 

ALLEGRI,   Antonio,    commonly    called    CoR- 


KEGGIO,  was  born,  according  to  his  Italian  bio- 
grapher Pungileoni,  in  the  year  1494,  in  the  small 
town  of  Correggio  near  Reggio-Emilia.  His  fatlier, 
Pellegrino  Allegri,  was  a  merchant,  or  tradesman 
in  comfortable  circumstances,  as  is  proved  by  his 
having  purchased  in  1516  a  clothier's  business, 
and  also  by  his  having  farmed  for  nine  years  two 
estates  for  whicli  he  paid  150  gold  ducats  a  year. 
His  mother,  named  Bernardina  Piazzola,  belonged 
to  the  Ormani  or  Aromani  family,  and  brought  hei 
liusband  a  dowry  of  100  lire. 

These  facts,  which  have  been  distinctly  ascer- 
tained, prove  that  Allegri  could  not  have  been 
brought  up  in  poverty,  nor  could  he,  as  was  at  one 
time  supposed,  have  belonged  to  a  noble  family 
of  the  name  of  De  Allegris,  who  possessed  a  castle 
and  estates  a  short  distance  from  Correggio.  He 
always,  it  would  appear,  lived  an  easy,  comfort- 
able bourgeois  life,  never,  it  is  true,  rising  to  the 
grandeur  and  sliow  of  some  of  the  other  great 
masters  of  the  Renaissance,  but  on  the  otlier  hand 
never  falling  into  that  dire  poverty  of  whioli 
Vasari  gives  such  a  moving  picture.  Vasari's 
narrative  indeed,  as  regards  Allegri,  has  long  been 
known  to  be  more  than  usually  inaccurate.  He 
possessed  little  real  knowledge  concerning  the 
distant  Lombard  master,  though  he  professed  a 
great  admiration  for  him  as  one  "  endowed  with 
exalted  genius,"  whose  works  he  praised  for  their 
"attractive  grace,  charming  manner,  perfect 
relief,  and  the  exquisite  softness  of  their  flesh- 
tints."  Nor  has  modern  research,  while  showing 
the  incorrectness  of  Vasari's  statements,  found 
out  much  concerning  the  personal  history  of  this 
charming  master,  who,  living  far  distant  from 
Rome  and  Florence,  the  great  centres  of  art  in  the 
16th  fcentury,  remained  unknown  to  most  of  his 
renowned  contemporaries,  and  thus  probably  missed 
the  important  part  tliat  he  might  otherwise  have 
played  in  tlie  art  of  Ins  time. 

'The  ascertained  facts  of  his  life,  stripped  of  all 
conjecture  and  tradition,  may  be  told  in  a  short 
space.  His  father,  Pellegrino,  destined  him,  it  is 
said,  for  a  learned  profession,  but  this  is  not  cer- 
tain. At  an  early  age,  however,  the  young  Allegri 
showed  an  inclination  towards  painting,  which 
fact  does  not  appear  to  have  been  disputed. 
He  had  an  uncle,  named  Lorenzo,  an  indifferent 
painter  of  Correggio,  from  whom  he  probably  ac- 
quired the  first  rudiments  of  the  art  ;  but  after- 
wards there  is  reason  to  believe  that  he  studied 
under  a  master  named  Antonio  Bartolotti,  or 
Bartolozzi,  called  also  Tognino  degli  Ancini,  who 
in  1500  was  the  chief  master  or  Caposciwla  in 
Correggio.  Bulbarini,  in  his  il/emoriePcrfne, speaks 
of  this  painter  as  having  been  "  often  assisted  by 
his  pupil  Allegri ;  "  but  Dr.  Meyer  does  not  con- 
sider that  he  gained  anything  from  this  master 
'  beyond  a  certain  technical  practice  in  tempera 
painting."  Unfortunately  only  two  of  Bartolotti's 
works  are  known,  and  they  prove  that  he  had  very 
little  capacity. 

Mengs  is  of  opinion  that  Allegri  studied  in 
Modena  also,  under  two  masters  of  some  repute — 
Francesco  Bianchi,  called  '  II  Frare,'  and  Pelle- 
grino Munari — but  there  is  no  historical  evidence 
to  support  this  view  beyond  a  passage  in  Vedri- 
ani's  Pittore  Modenesi,  which  was  added  by  the 
publisher  at  a  later  date.  Bianchi  died  in  1510 
when  Allegri  was  only  sixteen,  so  it  is  not  likely 
that  he  derived  much  knowledge  from  him,  even 
if  we  admit  that  he  studied  in  Modena,  which 

21 


A  BIOGRAPHICAL  DICTIONARY  OF 


Beems  unnecessary,  considering  that  an  esteemed 
master  like  Bartolotti  was  to  be  found  nearer 
home. 

But  whoever  were  his  early  teachers  (and  other 
masters  besides  those  named  are  mentioned),  his 
style  seems  to  have  been  formed  chiefly  by  the 
study  of  Manteg-na.  It  is  supposed  that  he  had  an 
opportunity  for  such  study,  for  it  is  said  he  went  to 
Mantua  in  1511,  at  a  time  when  the  plague  was 
raging  at  Correggio,  and  resided  there  for  some 
time.  Mantegna  himself  was  dead  at  this  time, 
but  at  the  impressionable  period  of  development 
such  a  revelation  as  that  of  Mantegna's  art  could 
scarcely  fail  to  have  a  great  influence  over  the 
style  of  a  youthful  artist,  and  Allegri's  study  of 
this  master  doubtless  led  to  that  intimate  know- 
ledge of  foreshortening  and  perspective  which  he 
exhibits  with  so  much  daring  in  his  great  works. 
Crowe  and  Cavalcaselle  imagine  also  that  he 
associated  with  Lorenzo  Costa  during  his  stay  in 
Mantua,  and  derived  from  him  something  of  his 
love  for  colour.  This  certainly  could  not  have 
been  gained  from  Mantegna,  whose  art  is  severely 
classic  and  sculpturesque;  but  Allegri's  use  of 
chiaroscuro,  his  exquisite  modelling,  and  his 
gracious  manner,  if  we  may  so  call  it,  bear  so 
much  closer  afSnity  to  Leonardo  da  Vinci  than  to 
any  other  master,  that  it  seems  almost  impossible 
to  doubt  that  in  some  way  or  another  he  also 
caught  inspiration  from  him. 

However  this  may  be,  it  is  certain  that  when 
he  came  back  to  Correggio,  at  about  the  age  of 
twenty-three,  his  fame  was  sufficiently  established 
in  his  native  town  for  him  to  receive  a  commission 
for  an  important  altar-piece.  This  altar-piece, — his 
first  authentic  picture, — painted  in  1514  for  the  con- 
vent of  San  Francesco  in  Correggio,  is  now  in  the 
Dresden  Gallery.  It  represents  the  Madonna 
enthroned,  with  St.  Francis  and  other  Saints,  and  is 
distinguished  by  a  more  solemn  religious  feeling 
than  is  observable  in  his  later  works.  After 
painting  several  other  altar-pieces  and  religious 
subjects  in  Correggio  he  received  a  commission 
from  the  lady  abbess  of  the  convent  of  San 
Paolo,  in  Parma,  to  decorate  her  nunnery  with 
paintings.  He  accordingly  went  to  Parma  in 
1518,  and  accomplished  that  lovely  series  of 
decorative  paintings  of  mythological  subjects 
that  are  now  reckoned  among  his  most  beautiful 
works,  although,  strange  to  say,  they  remained 
almost  unknown  for  nearly  two  centuries. 

On  his  return  to  Correggio  in  1519,  after  this,  his 
first  work  in  Parma,  Allegri  married  a  young  girl 
of  sixteen,  named  Girolama  Francesca,  daughter 
of  Bartolommeo  Merlini  de  Braghelis.  arm-bearer  to 
the  Marchese  of  Mantua.  She  brought  her  hus- 
band some  small  fortune,  and  before  this,  in  the 
same  year,  1519,  he  had  received  a  legacy  from 
his  maternal  uncle,  Francesco  Ormani,  of  a  house, 
several  acres  of  land,  and  other  property,  ''  in  con- 
sideration of  important  services."  His  circum- 
Btances  tlierefore  could  not  have  been  straitened 
at  this  time,  although,  owing  to  lawsuits  and  other 
causes,  he  did  not  at  once  enter  upon  the  posses- 
sion either  of  his  own  or  his  wife's  property.  His 
eldest  eon,  Pomponio,  was  born  on  the  3rd  of 
September,  1521,  in  Correggio,  the  learned  anato- 
mist Lombardi  standing  god-father  on  the  occasion 
of  the  christening. 

Allegri,  from  the  time  when  he  was  first  called 
to  Parma  in  1518,  appears  to  have  kept  up  a 
constant  intercourse  with  that  city,  and  after  the 

22 


birth  of  his  eldest  son  he  went  to  reside  there 
with  his  wife,  three  other  children  being  bom  to 
him  while  in  that  city.  "We  have  no  trustworthy 
account,"  says  Dr.  Meyer,  "of  the  paintings 
executed  by  Allegri,  partly  in  Parma  and  partly 
in  Correggio,  at  this  time."  They  were  mostly 
easel  pictures,  that  are  now  scattered  in  various 
galleries  and  are  extremely  difiicult  to  identify, 
numerous  false  works  being  attributed  to  this 
time.  Among  the  genuine  ones,  however,  the 
'  Madonna  kneeling  in  worship  before  the  Divine 
Infant,'  in  the  Ufiizi,  so  well  known  by  means  of 
engraving  and  constant  repetition,  the  '  Madonna 
deUa  Cesta,'  in  the  National  Gallery,  and  the 
'Zingarella,  or  Madonna  del  Coniglio,'  at  Naples, 
are  generally  thought  to  belong  to  this  period, 
and  to  have  been  suggested  by  his  young  wife 
and  child.  In  1520  Allegri  received  a  commission 
for  a  far  larger  work  in  Parma  than  any  he  had 
hitherto  done.  This  was  the  painting  of  the 
cupola  of  the  church  of  San  Giovanni,  for  which 
lie  entered  into  a  contract  with  the  Benedictines 
of  the  convent  of  San  Giovanni,  signed  on 
July  6th,  1520.  He  did  not,  however,  begin  the 
work  until  about  the  middle  of  1521,  and  he 
received  the  last  instalment  of  the  sum  paid  to 
him  for  it  on  the  23rd  of  January,  1624,  at  which 
date  we  may  conclude  that  this  splendid  work  was 
quite  finished,  for  in  a  document  still  extant,  and 
in  Allegri's  own  writing,  he  declares  himself  to 
have  received  "  full  payment  for  the  remainder  of 
the  works  completed  in  the  said  church,"  and  to 
be  "pleased,  satisfied,  and  fully  paid."  The  ex- 
act amount  of  this  '  full  payment '  is  somewhat 
difficult  to  determine,  although  the  various  sums 
were  found  by  Pungileoni  to  have  been  all 
entered  in  the  convent  books.  These  amount, 
when  added  up,  to  272  ducats,  and  Dr.  Meyer  is 
of  opinion  that  Allegri  did  not  receive  more  than 
this  small  sum  for  his  paintings  in  San  Giovanni. 
Other  authorities  make  it  up  to  472  ducats.  Some 
of  his  paintings  on  the  dome  of  San  Giovanni  are 
still  in  existence,  but  much  ruined  by  damp  and 
time.  Many  portions  are  scattered  in  galleries. 
Their  subject  is  the  '  Ascension  of  Christ  in  the 
midst  of  tlie  Apostles,'  a  subject  which  gives  full 
play  for  the  painter's  marvellous  powers.  The 
masterly  foreshortening  and  sense  of  movement, 
the  brilliancy  of  the  glowing  figures,  rising  as  it 
were  from  a  dark  background,  have  called  forth 
the  admiration  of  all  critics. 

Allegri's  nest  important  work  in  Parma  was  the 
painting  the  dome  of  the  cathedral,  for  which  he 
received  the  commission  in  1522,  though  he  did 
not  begin  the  work  till  a  later  date.  In  the  agree- 
ment it  is  specified  that  he  shall  receive  1000 
gold  ducats,  equal  to  about  £1500  of  our  present 
money ;  but  numerous  difficulties  and  disagree- 
ments arose  between  the  chapter  of  the  cathe- 
dral and  the  painter,  and,  in  the  end,  the  latter  did 
not  finish  more  than  half  of  the  work  stipulated, 
nor  receive  more  than  half  the  payment.  After 
Allegri's  death,  indeed,  the  cathedral  laid  claim 
to  140  hre  from  his  heirs  on  a<;count  of  some 
unfinished  works  in  the  choir. 

But  although,  as  it  would  seem,  Allegri  failed 
to  satisfy  the  cathedral  authorities,  his  paintings 
in  the  dome  of  the  cathedral  being  spoken  of 
disparagingly  by  contemporary  critics  as  a  "  mere 
hash  of  frogs,"  these  paintings  have  been  the 
wonder  and  delight  of  succeeding  generations. 
The  subject  represented  in  the  great  dome  is  the 


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PAINTERS  AND  ENGRAVERS. 


•  Assumption  of  the  Virgin,'  her  form  being  borne 
upwards  on  luminous  clouds  to  heaven,  whitLershe 
is  preceded  by  the  Archangel  Gabriel  and  a  joyous 
choir  of  angels,  all  in  the  most  unconstrained 
attitudes  and  action.  Tlie  Apostles,  from  below, 
gaze  upwards  in  ecstasy  to  view  the  heavenly 
drama,  and  numerous  putti,  or  boy  angels,  flutter 
about, looking  as  though  "about  to  burst  open  the 
dome,  and  fly  out  into  the  open  air."  The  entire 
absence  of  all  religious  conventionality,  and  the 
purely  sensuous  life  exhibited  in  these  paintings, 
sliow  a  bold  disregard  for  traditional  treatment. 

While  he  was  executing  these  stupendous  monu- 
mental frescoes,  Allegri  also  painted  some  of  his 
most  perfect  oil  paintings.  Chief  among  these 
stand  '  La  Notte,'  or  '  The  Night,'  of  the  Dresden 
Gallery,  commissioned  by  a  certain  Alberto 
Pratoneri  of  Reggio,  in  1522,  for  the  church  of 
San  Prospero.  This  world-famous  picture  is  well 
known,  and  need  not  be  described.  Sir  David 
Wilkie,  who  saw  it  during  his  travels  in  1826, 
speaks  of  it  as  "the  most  original  and  poetical  of 
all  Correggio's  works,"  and  one  which  "  though 
shorn  of  its  beams  from  the  treatment  it  has  met 
with,  is,  in  its  decay,  still  not  less  than  an  arch- 
angel ruined."  Since  his  time  it  has  been  re- 
stored in  1827  by  Palmaroli,  and  in  1858  by 
Schirmer,  and  it  is  stated  by  Dr.  Meyer  to  "be 
in  good  preservation,  only  the  azure  tints  of  the 
high  lights  having  somewhat  suffered,  and  tlie 
shadows  grown  darker."  It  is  chiefly  admired 
for  its  marvellous  effect  of  light,  and  the  poetic 
idea  of  making  that  light  emanate  from  the  new- 
born babe. 

The  magnificent  altar-piece,  in  the  Parma  Gallery, 
of  the  Madonna  with  St.  Jerome  and  the  Magdalene, 
called  '  II  Giomo,'  or  '  The  Day,'  is  another  of  Cor- 
reggio's works  distinguished  for  its  perfection  in 
the  management  of  light  and  shade,  and  the  volup- 
tuous beauty  of  the  Magdalene.  Mengs  says  of  this 
graceful  figure,  that  "  whoever  has  not  seen  it  is 
ignorant  of  what  the  art  of  painting  can  achieve." 
This  great  painting  was  executed  for  a  certain 
Donna  Briseide  CoUa,  of  Parma,  a  widow  lady, 
who  paid  the  painter  more  liberally  than  any  of 
his  other  patrons,  giving  him,  it  seems,  over  and 
above  the  stipulated  sum  of  80  scudi,  various 
presents,  consisting  of  "  two  cartloads  of  faggots, 
several  bushels  of  wheat,  and  a  pig."  According 
to  Dr.  Meyer,  Allegri  did  not  disdain  to  thus 
receive  payment  in  kind  from  some  of  his  less 
wealthy  patrons,  and  possibly  it  is  upon  some  tra- 
dition of  tliis  sort  that  Vasari's  absurd  story  of 
his  dying  under  a  weight  of  copper  money  was 
founded.  The  '  Madonna  della  Scodella,'  in  the 
Parma  Academy,  the  '  Madonna  and  St.  Sebas- 
tian,' and  the  '  Madonna  and  St.  George,'  at 
Dresden,  are  likewise  considered  to  belong  to  this 
time  of  highest  achievement. 

In  1530,  Allegri  left  Parma,  and  returned  to 
Correggio,  having  before  this  (probably  about  tlie 
end  of  1528)  lost  his  young  wife.  He  appears  to 
have  now  made  up  his  mind  to  settle  in  his  native 
town,  where  he  lived  in  a  good  house  in  the  Borgo 
Vecchio  (probably  the  one  which  he  had  inherited 
from  his  uncle).  He  also  bought  an  estate  iu 
November,  1530,  for  195  scudi,  and  in  1533  a  few 
acres  of  land.  About  tliis  time  we  frequently  find 
his  name  mentioned  as  witness,  he  being  at  one 
time  summoned  to  witness  the  payment  of  tlie 
marriage  portion  of  Clara,  the  daughter  of  the 
Lord  of  Correggio,  all  of  which  facts  prove  that  I 


he  must  have  been  a  man  of  some  means  and 
importance  in  his  native  city. 

Besides  AUegri's  great  rehgious  pictures,  he 
painted  a  number  of  mythological  subjects,  for 
which  his  style  was  admirably  adapted.  Tlie 
sensuous  qualities  of  his  art  have  full  play  in 
such  works  as  the  '  Jupiter  and  Antiope'of  the 
Louvre,  the  '  Education  of  Cupid,'  in  the  National 
Gallery,  the  '  Danae '  of  the  Borghese  Gallery, 
and  the  '  Leda  '  of  the  Berlin  Museum.  Most  of 
these  works  were  executed,  it  is  supposed,  during 
the  last  years  of  the  painter's  life,  but  the  exact 
dates  are  uncertain. 

Vasari  states  that  Allegri  painted  two  of  these 
pictures — the  '  Leda,'  and  the  '  Danae,'  described 
by  him  as  'Venus' — forthe  Duke  of  Mantua,  who 
afterwards  presented  them  to  the  Emperor  Charles 
v.,  and  there  seems  no  reason  to  doubt  his  inform- 
ation in  this  particular.  It  is  probable,  however, 
that  Allegri  became  known  to  the  duke  not 
through  the  intervention  of  Giulio  Romano,  as  has 
been  supposed,  but  rather  through  the  recommend- 
ation of  Veronica  Gambara,  the  second  wife  of 
Giberto  of  Correggio,  who  was  a  lady  of  great 
learning,  and  who  founded  an  Academy  in  Cor- 
reggio. A  letter  dated  September  3,  1528,  is 
extant  from  this  lady  to  her  friend  Beatrice 
d'  Este,  Duchess  of  Mantua,  inviting  her  to  "  come 
and  see  the  chef  d'oeuvre  of  the  '  Magdalene  in  the 
Desert,'  just  finished  by  the  Messer  Antonio  Allegri. 
It  astonishes  all  who  behold  it."  The  cause  of 
AUegri's  death  at  the  early  age  of  40  is  unknown. 
It  was  probably  sudden,  for  he  had  entered  upon  a 
new  commission  shortly  before.  He  died  on  the 
5th  of  March,  1534,  and  was  buried  the  next  day 
in  the'  Franciscan  church  at  Correggio,  a  simple 
wooden  tablet  marking  the  spot.  In  the  18th 
century,  when  his  grave  was  sought  for,  it  could 
not  be  found,  though  a  skull  purporting  to  be  his 
is  preserved  in  tlie  Academy  of  Modena. 

AUegri's  art  was  thorouglily  individual.  Vasari 
riglitly  calls  him  pittore  singolarissimo,  but  by 
the  sensuous  cliaracter  of  his  painting  he  is 
more  nearly  allied  to  the  scliool  of  Venice  than  to 
the  severer  intellectual  schools  of  Padua  or 
Florence.  Perhaps  what  mostly  distinguishes  his 
style  from  that  of  every  other  master,  is  his 
delicate  perception  of  the  minutest  gradations  of 
light  and  shade.  His  chiaroscuro  has  been  praised 
by  artists  as  simply  perfect.  It  sheds  a  wonder- 
ful atmospliere  of  ligiit  and  delight  over  all  his 
works,  and  his  figures  seem  literally  to  live  in 
radiant  glory.  AUegri's  Madonnas  are  beautiful, 
joyous  mothers,  endowed  with  every  human 
charm  ;  but  with  none  of  the  spirituality  that 
Raphael  infused  into  the  old  ascetic  type.  He 
departed,  in  fact,  as  far  as  the  Venetian  masters 
from  the  old  religious  ideal,  and  like  them  made 
aesthetic  perfection  his  sole  aim. 

CHIEF  AUTHENTIC  "WORKS. 

FRESCOES. 

Fresco  paintings  in  the  nunnery  of  San  Paolo.     1518. 
St.  Jolin  ;  fresco  above  a  doorway  iu  .Sau  Giovanni. 
Frescoes  in  the  dome  of  San  Giovanni.     1521 — 1522. 
Frescoes  in  the  dome  of  the  cathedral  at  Parma.     1526 

—1530. 
Madonna  della  Scala ;  fresco  now  in  the  Academy  at 

Parma. 
The  Annimciation  ;  fresco  formerly  in  the  church  of  the 

Annunziata  in  Parma ;  recently  restored  and  removed 

from  the  wall. 

23 


A  BIOGRAPHICAL  DICTIONARY  OF 


OIL   PAINTINGS. 

Madonna  of  St.  Francis  ;  Dresden  Gallery.     1514. 
Martyrdom  of  SS.  Placidus  and  Flavia;  Academy  at 

Parma.     1522—1524? 
La  Notte,  or  The  Night ;  Dresden  Gallery.     1522— 

1530. 
II  Giorno,  or  St.  Jerome ;  Academy  at  Parma.     1527 — 

152S? 
Madonna  and  St.  George;  Dresden.     About  1530. 
Madonna  and  St.  Sebastian  ;  Dresden.     1525. 
Marriage  of  St.  Catherine;  Louvre.     1517 — 1519. 
Virgin  in  Adoration  ;  UlKzi,  Florence. 
Madonna  della  Cesta  ;  National  Gallery.     1520  ? 
La  Ziugarella  ;  Naples  Gallery. 
Sposalizio  di  S.  Caterina ;  Museo,  Naples. 
St.  Antonio ;  Chiesa  dei  Girolamiui,  Naples. 
Adorazione  dei  Magi ;  Brera,  Milan. 
Adorazione  dei  Pastori ;  Galleria  Crespi,  Milan. 
Madonna  col  figlio  ;  Museo  del  Castello,  Milan. 
J,  „      „        Kaocolta  Malaspina,  Pavia. 

„  „      ,»        Galleria,  Modena. 

Madonna  e  Santi ;  Sigmaringen. 
Madonna  and  Child  ;  Benson  Collection,  London. 
St.  Marta  ;  Lord  Ashbiu'ton. 
Kest  in  Egypt ;  Uffizi,  Florence. 
Sacra  Conversatione  ;  Ritter  Gallery,  Vienna. 
Christ  in  the  Garden  of  Gethsemane  ;  Aspley  House  ; 

given  by  the  King  of  Spain  to  the  Duke  of  Wel- 
lington. 
Ecce  Homo ;  National  Gallery. 
Jupiter  and  Antiope ;  Louvre,  formerly  in  the  possession 

of  Charles  I. 
Education  of  Cupid ;  National  Gallery. 
lo  and  Jupiter ;  Vienna  Gallery. 
Leda ;  Berlin  Gallery. 
Dan:ie ;  Borghese  Gallery  in  Rome. 
The  Triumphs  of  Virtue  and  Vice;   two  allegorical 

sketches  in  tempera,  in  the  Louvre. 

BIBLIOGRAPHY. 

Ricci,   C,    'Correggio,    Life    and     Time.'       London, 

1896. 
.Brijiton,  «S., 'Correggio.'    London,  1900. 
Pumjileoni, '  Memorie  istoriche  di  Antonio  Allegri.'     3 

vols.     Parma,  1817. 
Saphael  Menys,  'Life  and   Works   of  Ant.    AUesjri.' 

1870. 
Pietro  Martini, '  II  Correggio.'    1871. 
Qiiirino  Bigi,  Antonio  Allegri  da  Correggio.'     Parma, 

1860;  2nd  edit.,  1873. 
Julius  Metier,  '  Antonio  Allegri  da  Correggio.'     First 

appeared  in  the  'Allgemeines  Kunstler- Lexicon '  in 

1870.     English  translation,  edited  by    Mrs.  Charles 

Heatou.    1876. 
/.  P.  Richter,  'Antonio  Allegri,   gen.   Correggio,'    in 

the  '  Kuust  und  Kunstler.'    1879. 

ALLEGRI,  Lorenzo,  an  inferior  Italian  painter 
of  -whom  very  little  is  known.  He  was  uncle  to 
the  celebrated  Antonio  Allegri,  called  Correggio, 
and  is  said  to  have  been  his  first  instructor  in  the 
rules  of  art.  In  1503  he  painted  a  picture  for  the 
convent  of  San  Francesco  in  Correggio,  but  no 
work  by  his  hand  is  now  known  to  exist.  He  died 
in  1527,  leaving  his  property  to  his  brother 
Pellegrino,  and  his  nephew  Antonio,  by  whom  he 
was  much  beloved. 

ALLEGRI,  PoMPONio,  son  of  Antonio  Allegri, 
was  born  in  1521.  He  was  only  thirteen  years  of 
age  when  his  father  died,  so  he  could  not  have 
received  much  training  from  him,  but  he  is  said 
to  have  studied  under  Rondani,  who  may  likewise 
be  considered  a  follower  of  Allegri.  Pomponio 
inherited  a  considerable  fortime  from  his  father 
and  grandfather,  and  appears  for  some  time  to 
have  held  a  good  position  in  Correggio.  He 
afterwards,  however,  sold  most  of  his  landed 
property,  and  his  affairs  became  involved.  He 
was  altogether  an  inferior  painter,   although  he 


appears  to  have  been  greatly  employed,  and 
received  many  important  commissions.  One  of 
his  altar-pieces,  showing  the  influence  of  his 
father,  is  in  the  Academy  at  Parma.  It  represents 
'  Moses  showing  the  Israelites  the  Tables  of  the 
Law.'  Other  works  are  in  various  churches.  He 
sometimes  signed  himself  PoMPONio  L.ETI,  latin- 
izing the  name  of  Allegri,  as  his  father  also  did 
occasionally.  He  was  still  living  in  1593.  After 
his  time  the  family  of  Allegri  appears  to  have 
fallen  into  poverty,  and  to  have  become  extinct. 

M.  M.  H. 

ALLEGRINI,  Francesco,  called  Da  Gubbio. 
This  painter  was  bom  at  Gubbio  in  1587,  and  was 
a  disciple  of  Giuseppe  Cesare.  He  painted  his- 
torical subjects,  and  executed  many  worKs,  both 
in  oil  and  in  fresco,  for  the  churches  and  palaces 
at  Rome.  Works  by  him  are  also  in  Gubbio,  in 
Genoa,  and  Savona.  He  had  a  great  number  of 
scholars,  amongst  whom  were  his  son,  Flaminio, 
and  his  daughter,  Angelica,  who  also  painted 
historical  subjects.     He  died  in  1663  at  Rome. 

ALLEGRINI,  Francesco,  a  designer  and  en- 
graver, was  born  at  Florence,  about  the  year  1729. 
In  1762,  he  published,  in  conjunction  with  his 
brother  Giuseppe,  a  collection  of  one  hundred  por- 
traits of  the  family  of  the  Medici,  with  a  frontis- 
piece, engraved  by  himself.  He  also  engraved 
fourteen  portraits  of  Jlorentine  poets,  painters, 
and  other  eminent  personages.  We  have  also  a 
print  by  him  of  the  statue  of  St.  Francis  of  Assisi, 
which  is  held  in  much  veneration  at  Siena. 

ALLEGRINI,  Giuseppe,  brother  of  Francesco, 
an  Italian  engraver,  who  flourished  about  the  year 
1746.     We  have  the  following  plates  by  him  : 

The  Virgin  Mary  \vith  the  Infant  Jesus  ;  half  figures, 

with  this  inscription,  lEgredietur  Virgo  de  radice,  ^c. 
The  Circumcision. 
The  Stoning  of  St.  Stephen. 
A  small  print  of  Rinaldo  and  Armida. 
A  large  operatic  scene;  after  Chammit. 

ALLEMAND,  L'.     See  L'Allemand. 

ALLEN,  Folpert  van  Ouden,  a  designer  and 
engraver  of  Utrecht,  flourished  in  the  second  half 
of  the  17th  century.  The  view  of  the  city  of 
Vienna,  engraved  by  J.  Mulder,  is  from  a  drawing 
by  this  artist,  made  in  1686 ;  and  he  has  himself 
engraved  a  large  plate  of  the  city  of  Prague,  a 
slight  print,  with  several  figures.    He  died  in  1715. 

ALLEN,  James  Batlis,  an  engraver,  who  wag 
born  at  Birmingham  in  1802,  was  first  engaged  in 
the  business  of  his  father,  a  button  manufacturer ; 
but  afterwards  became  a  pupil  of  Vincent  Barber, 
and  migrated  to  London  in  1824,  where  he  died 
in  1876.     The  chief  works  he  engraved  were  : 

Battle  of  the  Meeanee;  after  Armitage. 

The  Columns  of  St.  Mark ;  after  Boniugton. 

Bucentaur ;  after  Caualetto. 

The  Dogana ;  after  Canaletto. 

The  Battle  of  Borodino ;  after  G.  Jones,  S.A. 

Lady  Godiva;  after  G.  Jones,  P. A. 

The  Fiery  Furnace  ;  after  G.  Jones,  E.A. 

The  Death  of  Nelson ;  after  Turner. 

Phryne  going  to  the  Biith  as  Venus ;  after  Turner. 

The  Decline  of  Carthage  ;  after  Turner. 

The  Temple  of  Jupiter  Panhellenium ;  after  Turner. 

ALLEN,  James  C.  ,  an  engraver,  a  native  of 
London,  became  a  pupil  of  William  Cooke,  with 
whom  he  published,  in  1821,  fifteen  engravings  of 
views  of  the  interior  and  exterior  of  the  Coliseum 
at  Rome.  One  of  his  best  plates  was  the  '  Defeat  of 
the  Spanish  Armada,'  after  De  Loutherbourg,  1831. 
He  also  executed  numerous  book-illustrations. 


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PAINTERS  AND  ENGRAVERS. 


ALLEN,  Joseph  W.,  the  son  of  a  schoolmaster 
at  Hammersmith,  was  bom  in  Lambeth  in  1803. 
He  was  educated  at  St.  Paul's  School,  and  was 
afterwards  for  a  short  time  usher  in  an  academy 
at  Taunton.  Discovering  a  talent  for  drawing,  he 
came  back  to  London,  resolved  to  adopt  the  brush 
as  his  means  of  living.  In  the  first  instance  he 
became  an  assistant  to  a  picture  dealer,  under  whom 
he  acquired  a  considerable  knowledge  of  the  old 
masters,  and  the  pecuniary  value  of  their  works. 
He  afterwards  took  to  scene  painting,  in  associa- 
tion with  Charles  Tomkins  and  Clarkson  Stanfield  : 
and  during  Madame  Vestris's  first  lesseeship  of  the 
Olympic  Theatre,  he  painted  most  of  the  scenery 
for  her.  The  natural  bent  of  his  genius,  however, 
was  for  pastoral  landscape,  and  the  varied  pictur- 
esque features  of  English  scenery  ;  and  his  little 
fresh,  green,  and  true  bits  of  nature  soon  at- 
tracted admirers  and  purchasers.  As  time  went 
on,  his  talent  became  manifestly  more  matured, 
and  he  was  noted,  amongst  other  things,  as  an  ex- 
cellent painter  of  distances.  '  The  Vale  of  Clwyd,' 
exhibited  in  1847,  created  a  considerable  sensa- 
tion, and  was  purchased  by  an  Art  Union  prize- 
holder  for  three  hundred  g-uineas ;  and  Allen 
repeated  it  twice  in  smaller  dimensions,  for  other 
purchasers.  '  Leith  Hill,'  in  the  following  year, 
was  almost  equally  successful.  His  subjects  were 
usually  well  chosen,  and  consisted  chiefly  of  views 
in  North  Wales,  Cheshire,  Yorkshire,  and  the  mid- 
land counties.  Allen  took  an  active  part  in  the 
establishment  of  the  '  Society  of  British  Artists,' 
of  which  he  became  the  secretary,  and  attached 
himself  to  its  interests  with  such  devotion  that  he 
latterly  refused  to  exhibit  anywhere  else  in  London 
than  at  its  Gallery  in  Suffolk  Street.  There  is  little 
doubt  that  his  influence  tended  much  to  heighten 
the  repute  for  landscape  painting  which  the  ex- 
hibitions of  this  Society  have  generally  enjoyed. 
He  was  also  professor  of  drawing  at  the  City 
of  London  School,  from  its  foundation.  He  died 
in  1852. 

ALLEN,  Thomas,  was  an  English  marine  painter, 
who  flourished  in  the  middle  of  the  18th  century. 
He  painted  scenes  from  Queen  Charlotte's  voyage 
and  arrival  in  England.  Allen's  works  were  en- 
graved by  P.  C.  Canot. 

ALLET,  Jean  Charles,  a  draughtsman  and  en- 
graver, was  born  at  Paris  about  the  year  1668. 
He  resided  a  long  time  in  Italy,  and  is  supposed 
to  have  died  at  Rome  in  1732.  Owing  to  his  liaving 
marked  his  plates  sometimes  Jean  Charles  Allet, 
and  sometimes  Carolus  Alet,  collectors  were  for 
some  time  inclined  to  believe  that  they  were  two 
distinct  artists  ;  but  from  the  evident  similarity  of 
style,  it  is  no  longer  doubted  that  all  those  plates 
are  by  the  same  hand.  Allet  engraved  portraits 
and  subjects  from  sacred  history,  and  appears  to 
have  wished  to  imitate  the  manner  of  F.  Spierre 
and  Cornells  Bloemaert,  but  his  imitation  has  not 
been  very  successful.  His  principal  plates  are  the 
following : 

PORTRAITS. 
Andrea  Pozzo,  Jesuit  and  architect ;  dated  1712. 
Cardinal  Aloisio  Amadei ;  after  J.  Moratidi,  1690. 
Ferdinand  Charles  Gonzaga,  Duke  of  Mantua;   after 

Ant.  Lesnia. 
Pope  Alexander  VIII. ;  after  S.  Calendriicci.     1695. 
St.  Aloysius  Gonzaga,  Jesuit ;  oval. 
St.  Ignatius  ;  after  P.  Lucatelli  ;  oval. 

SUBJECTS    FROM    SACRED    HISTOBT. 
The  Conception  of  the  Virgin ;  after  And.  Puzzo ;  oval. 


The  Adoration  of  the  Shepherds  ;  after  S.  Cantarint. 
Tlie  Virgin  Mary  and  St.  Joseph  adoring  the  Infant 

Jesus  ;  after  the  same. 
The  Savioilr  brought  before  Pilate ;  after  P.  de  Pietri. 
Ananias  restoring  sight  to  St.  Paul;  after  Pietro  da 

Cortona. 
The  Vision  of  St.  Paul ;  after  the  same  painter. 

The  last  two  plates  are  considered  his  best  his- 
torical works. 

The  Death  of  a  Saint,  in  presence  of  tlie  Virgin,  St. 

Joseph,  and  St.  Francis  Xavier. 
The  Death  of  St.  Stanislaus  Kostka ;  after  P.  Le  Gros, 

sculptor, 
St.  Gaetan,  accompanied  with  a  figure  of  Religion,  and 

Clirist  holding  His  Cross  ;  after  Laz.  Baldi . 
St.  Andronicus,  and  St.  Athanasia     after  F.  B.  Ziic- 

I'hezzi. 
St.  Augustine  with  a  child,  getting  water  from  the  sea  ; 

after  J.  B.  Leonardi. 
St.   Rosa,  crowned  by  angels;   Carolus  Allet,   del.  $ 

sculp. 
Twelve  plates  of  the  Life  of  Christ;    after  Passeri, 

engraved  in  conjunction  with  A.  v,  Westerhuut. 

ALLOM,  Thomas,  architect  and  landscape 
painter,  was  born  in  March,  1804.  He  was 
articled  to  Francis  Goodwin,  the  architect,  in 
1819;  and,  while  his  pupil,  was  engaged  upon 
the  Manchester  Town  Hall,  Derby  Gaol,  West 
Bromwich  Church,  and  many  other  public  build- 
ings. He  also  assisted  in  making  designs  (1834) 
for  the  then-existing  Parliament  Houses,  which 
were  lithographed  by  him  by  order  of  the  House 
of  Commons.  Wishing  to  travel,  with  the  object 
of  gaining  a  more  enlarged  knowledge  of  his  pro- 
fession, he  turned  his  attention  to  painting  views 
for  the  purpose  of  publication.  The  first  illustrated 
work  which  made  its  appearance  under  these  cir- 
cumstances was  '  The  Scenery  of  Devonshire  and 
Cornwall.'  This  was  followed  by  a  similar  work 
on  the  'Lake  District,  and  Northern  Counties,' 
'Scotland  Illustrated,'  the  historical  portion  of 
which  was  written  by  Dr.  Beattie.  In  producing 
these  illustrations  he  endeavoured  to  give  the 
scenes  additional  interest  by  depicting  the  cele- 
brated historical  incidents  connected  with  them  . 
— thus,  in  the  '  View  of  Lochiel,'  is  represented  the 
gathering  of  the  clans  of  Prince  Charlie  ;  in  that 
of  the '  Castle  of  Doon '  we  see  prisoners  taken  at  the 
battle  of  Falkirk;  'Linlithgow Palace'  is  represented 
as  being  burnt  by  Hawley's  dragoons.  His  more 
strictly  professional  engagements,  however,  inter- 
fered with  the  completion  of  these  works,  and  he 
was  obliged  to  give  up  a  portion  to  other  hands. 
Soon  after  this  a  proposal  was  made  to  him  to  go 
to  the  East,  and  this,  being  more  in  accordance 
with  his  legitimate  profession,  was  too  tempting 
to  be  refused.  His  work  on  '  Constantinople  and 
Asia  Minor'  was  the  result  of  this  journey,  in 
which  he  again  introduces  historical  events,  such 
as  the  unfolding  of  the  standard  of  the  Prophet  in 
the  mosque  of  Sultan  Aclmiet  previous  to  the 
massacre  of  the  Janissaries  by  Mahnioud.  His 
subsequent  work  on  France  is,  perhaps,  liis  best 
work,  and  in  this  his  intimate  knowledge  of 
architecture  proved  of  the  greatest  advantage.  In 
1846  he  had  an  audience  of  Louis-Philippe  at 
Paris,  when  the  king  expressed  his  great  appro- 
bation of  the  work,  and  invited  him  to  visit  St. 
Cloud  the  following  season,  and  requested  him  to 
make  drawings  of  the  king's  own  estate  at  Dreux, 
with  monuments  to  the  royal  family.  In  1846-8 
his  designs  of  proposed  improvements  on  the  banks 
of  the  Thames  were  exhibited  by  him  in  London, 

25 


A  BIOGRAPHICAL  DICTIONARY  OF 


Manchester,  and  Paris,  and  a  diploma  of  merit  was 
forwarded  from  the  last  of  these.  He  was  one  of 
the  founders  of  the  Institute  of  British  Architects. 
Amongst  his  architectural  works  are :  Christ- 
church,  Highbury,  the  Cambridge  Military  Asylum 
at  Kingston,  Kennington  Workhouse,  and  St. 
Peters  Church,  Notting  Hill.  Amongst  his  paint- 
ings, which  exhibit  true  feeling  and  nice  execution, 
are  those  of  the  '  Cities  of  the  Seven  Churches  of 
Asia  Minor,'  which  were  engraved  in  the  'Art 
Journal '  in  1862-3.  He  died  at  Barnes,  in  October, 
1872. 

ALLORI,  Alessandbo,  also  called  Alessaxdko 
Broxzixo,  was  born  at  Florence  in  1535.  He 
was  the  son  of  a  painter ;  but  having  the  misfor- 
tune, when  he  was  only  five  years  of  age,  to  lose 
his  father,  he  was  placed  iinder  the  care  of  his 
uncle,  Agnolo  Bronzino,  who  brought  him  up  with 
aU  the  affection  of  a  parent.  Before  he  was  seven- 
teen years  of  age,  he  had  made  such  prtigress 
under  this  able  master,  that  he  painted,  from  his 
own  design,  an  altar-piece  representing  the  Cruci- 
fixion, a  composition  of  several  figures,  ingeniously 
arranged  and  well  coloured.  When  he  was  nine- 
teen, he  visited  Rome,  where  he  remained  two 
years.  The  chief  objects  of  his  admiration  and 
study  in  that  city  were  the  works  of  Michelangelo, 
and  the  grand  style  of  that  master  is  discernible  in 
his  pictures.  On  his  return  to  Florence,  he  was 
greatly  occupied  for  the  churches  and  other  public 
edifices.  He  was,  however,  occasionally  prevailed 
on  to  paint  the  portraits  of  some  of  the  distin- 
guished personages  of  his  time,  which  he  treated 
in  a  great  and  admirable  style.  In  1590,  he 
published  Dialogo  sopra  l  arte  del  elisegnare  le 
Figure,  illustrated  with  anatomical  plates.  "  Some 
of  his  pictures  in  Rome,  representing  horses,  are 
beautiful.  His  '  Sacrifice  of  Isaac,'  in  the  Royal 
Museum,  is  coloured  almost  in  the  Flemish  style. 
He  was  expert  in  portrait  painting,  but  he  abused 
his  talent  by  introducing  portraits  in  the  modem 
costume  in  ancient  histories,  a  fault  not  uncommon 
in  that  age.  On  the  w-hole,  his  genius  appears  to 
have  been  equal  to  every  branch  of  painting ;  but 
it  was  unequally  exercised,  and  consequently  un- 
equally expanded  "  {Land).  In  the  Berlin  Gallery 
there  is  a  female  portrait  by  him,  probably  repre- 
senting Bianca  Cappello,  wife  of  Francis  II.  of 
Tuscany  ;  and  there  are  no  less  than  sixteen  works 
by  him  in  the  Ufiizi,  Florence.  He  died  at  Florence 
in  1607. 

ALLORI,  Akgiclo,  called  II  Bkonzino,  an 
eminent  Florentine  painter  and  poet,  was  bom  at 
Monticelli  near  Florence  in  1502.  He  studied  first 
under  an  obscure  painter,  then  under  Raffaelino 
del  Garbo,  and  subsequently  became  the  favourite 
disciple  of  Jacopo  Carrucci,  called  Pontormo,  and 
assisted  that  master  in  some  of  his  most  consider- 
able undertakings,  particularly  in  the  chapel  of 
San  Lorenzo  at  Florence,  which  he  was  employed 
to  finish  after  the  death  of  that  master.  He  ap- 
pears to  have  studied  with  attention  the  dignified 
style  of  Michelangelo,  and  there  is  something  of 
the  grandeur  of  that  master  discernible  in  all  his 
productions.  His  principal  works  are  at  Florence 
and  Pisa.  He  worked  both  in  fresco  and  oil.  He 
also  excelled  in  portraits,  and  painted  the  most 
celebrated  personages  of  his  time,  among  whom 
were  Dante,  Boccaccio,  and  Petrarch.  He  frequently 
painted  the  portraits  of  Cosimo  I.,  Grand  Duke  of 
Tuscany,  and  his  wife  Eleonora,  and  there  are 
many  replica   besides.      He  died    at  Florence  in 

26 


1572.     The  following  are  some  of  hie  moat  im- 
portant works : 


Dresden.  Gallery. 
Florence.  Academy. 


Badia. 

S.  Loren:o. 


S.  GiroJamo  d. 
Poverino. 
Fitti  Pal. 


rffzi. 


London.    Xat.  Gall. 


Lucca.  Communal  Gal. 

„       Royal  Palace. 
Madrid,    jfuseum. 
Paris.        Louvre. 
Petersburg.  Hermitage. 

„  Leuchtenberg  Col. 
Rome.  Borqhese  Pal. 
Vienna.   Gallery. 


Portrait  of  Cosimo  I. 

Portrait  of  his  wife,  Eleonora. 

Pieta. 

Cartoon  for  the   'Descent  into 

Hades.' 
St.  Benedict  on  thorns  (fresco). 
Martyrdom     of     St.     Laurence 
(fresco). 

I  Noli  me  tangere  (fresco). 

Holy  Family. 
Portrait  of  Cosimo  I. 
Portrait  of  Francesco  I.  de'  Me- 
dici, and  others. 
The    Descent    into    Hades   (his 

masterpiece) 
Portrait  of  Pontormo. 
De.scent  from  the  Cross. 
Annunciation. 
Pieta.    BEOZ:  FAC: 
An  Allegory — Prosperity  crowned 
by  Victory.    BEOZ :  fac  : 
Portrait    of    Eleonora,    wife     of 

Cosimo  I.,  and  others. 
Portrait  of  a  Lady. 
Venus,  Cupid.  Folly,  and  Time. 
A  Knight  of  St.  Stephen. 
Portrait  of  Cosimo  I. 
Portrait  of  Piero  de  Medici. 
Portraits  of  two  children. 
Portrait  of  Cosimo  I. 
Portrait  of  Cosimo  I. 
The  Violin-player. 
Male  portrait. 
Portrait  of  a  Lady. 
Portrait  of  a  Lady. 
Portrait  of  a  Lady,  beonzino  f. 
Portrait  of  Cosimo  I. 
Holy  Family.     BBdzrso  noEEK- 

TIKO. 

,1  ,1  Portrait  of  Cosimo  I. 

.,  „  Portrait  of  his  wife  Eleonora, 

ALLORI,  Ceistofako  (sometimes  called  Bbon- 
ziNo),  the  son  of  Alessandro,  was  born  at  Florence 
in  1577.  He  was  for  some  time  instructed  in 
the  art  by  his  father,  but  he  afterwards  studied 
under  Santi  di  Tito,  and  finally  improved  himself 
in  colouring  by  imitating  the  harmonious  tinting 
of  Lodovico  Cardi,  called  Cigoli.  He  painted 
several  considerable  works  for  the  churches  and 
convents  at  Florence,  and  for  the  palace  of  the 
Medici.  He  was  also  a  very  celebrated  portrait 
painter;  and  many  of  the  distinguished  persons 
of  his  time  were  painted  by  him.  Owing  to 
vicious  habits  that  often  seduced  him  from  his 
labours,  his  works  are  extremely  rare,  and  he 
himself  comparatively  little  known.  The  'St. 
Julian'  of  the  Pitti  Palace  is  the  grandest  effort 
of  his  genius;  his  picture  of  'Judith  with  the 
head  of  Holofemes,'  also  in  the  Pitti  Palace,  is, 
however,  of  wider  acquaintance.  Judith,  so  beau- 
tifully and  magnificently  attired,  is  a  portrait  of 
his  mistress  ;  the  attendant  is  that  of  her  mother, 
and  the  head  of  Holofemes  that  of  the  painter. 
Numerous  copies  of  this  fine  work  (which  has  been 
engraved  no  less  than  thirteen  times),  and  duplicates 
of  his  most  celebrated  pictures,  are  scattered  over 
Italy ;  the  productions  of  his  scholars  Tanteri, 
Bruno,  Certosini,  Cerrini,  and  others.  He  died  in 
1621  at  Florence.  AUori  made  several  copies,  with 
slight  alterations  in  the  background,  of  Correggio's 
'  Reading  Magdalene,'  which  were  such  good  imi- 
tations that  they  have  passed  as  replicas  by  Cor- 
reggio's own  hand.  In  addition  to  the  works 
already  noticed  may  be  mentioned : 


ANGIOLO  ALLORI 


BRONZING 


Biogi  fhoto\ 


FERDINANDO  DE'  MEDICI 


[JJffiii  Gallery,  Florence 


PAINTERS  AND  ENGRAVERS. 


Florence,  l/ffizi.  His  owu  Portrait. 

„  „  Adoration  of  the  Magi. 

„  „  The  Magdalene. 

„  „  Infant  Christ  sleeping. 

Ijondon.   JVat.  Gall.  Portrait  of  a  Lady. 

Paris.        Louvre.  Isabella  of  Aragon  at  the   feet  of 
Charles  VIII. 

ALLSTON,  Washington,  one  of  the  chief 
painters  of  the  American  school,  was  born  at 
Waccaniaw  in  South  Carolina,  in  1779.  After  the 
completion  of  his  university  career  at  Harvard, 
he  took  up  his  abode  at  Cliarleston,  where  he, 
however,  did  not  long  remain,  as  he  desired  to 
go  to  Europe  for  the  improvement  of  his  art.  He 
arrived  in  London  in  1801,  and  at  once  entered 
the  Royal  Academy  Schools,  where  he  became 
acquainted  with  his  fellow-countryman,  West, 
who  was  then  president.  In  1804,  Allston  went 
with  his  friend  Vanderlyn  and  with  C.  R.  Leslie 
to  Paris,  and  thence  to  Rome,  where  in  the  follow- 
ing year  he  painted  his  '  Joseph's  Dream.'  At 
Rome,  Allston  commenced  with  Washington 
Irving  a  friendship  which  lasted  for  life.  He  also 
became  acquainted  with  Coleridge,  and  the  Danish 
sculptor,  Thorwaldsen.  In  1809,  he  went  back 
to  America,  married  a  sister  of  Dr.  Channing, 
and  then  returned  to  London,  where  he  produced 
his  '  Dead  Man  touching  Elisha's  bones,'  which 
gained  a  prize  of  two  hundred  guineas  from  the 
British  Institution.  It  is  now  in  the  Pennsylvania 
Academy  of  Fine  Arts  at  Philadelphia.  Then 
followed  the  '  Liberation  of  St.  Peter  by  the 
Angel,'  which  was  taken  to  America  in  1859,  and 
presented  by  Dr.  Hooper  in  1877  to  the  Wor- 
cester Lunatic  Hospital,  U.S.  ;  '  Uiie!  in  the  Sun,' 
in  the  possession  of  the  Duke  of  Sutherland  ;  and 
'Jacob's  Dream,'  in  the  Petworth  Gallery.  In 
1818,  Allston  returned  to  America,  and  settled  at 
Boston,  his  health  weakened  by  sorrow  for  the 
death  of  his  wife,  and  by  overwork.  In  the  same 
year  he  was  elected  an  Associate  of  the  Royal 
Academy.  Of  the  works  which  he  executed  in 
the  following  years,  we  may  notice,  tlie  '  Prophet 
Jeremiah,'  now  in  Yale  College ;  '  Saul  and 
the  Witch  of  Endor ;'  'Miriam's  Song;'  and 
'  Dante's  Beatrice.'  In  1830,  Allston  married 
again.  His  second  choice  wa.s  the  daughter  of 
Chief  Justice  Dana,  of  Cambridge,  Massachusetts, 
where  he  settled.  There  he  spent  the  remainder 
of  his  life  in  secluded  industry,  occasionally  in- 
terrupted by  illness.  He  then  produced  one  of 
his  best  known  works,  '  Spalatro'  s  Vision  of  the 
Bloody  Hand,'  from  '  The  Italian  '  by  Mrs.  Rad- 
clifEe — especially  remarkable  for  the  effects  of 
light  and  shade,  and  for  the  expression  of  fright 
and  a  guilty  conscience  on  the  face  of  Spalatro, 
and  the  firm  determination  visible  on  the  counten- 
ance of  the  monk.  This  work,  wliich  was  painted 
for  Mr.  Ball,  of  South  Carolina,  is  now  in  tlie 
Taylor  Johnston  Collection  in  New  York  ;  it  has 
been  engraved  by  W.  J.  Linton,  His  '  Rosalie,' 
executed  late  in  life,  is  also  worthy  of  mention. 

Allston  died  at  Cambridge  in  1843,  leaving 
unfinished  a  large  work,  on  which  he  had  been 
engaged  at  various  times  for  about  forty  years.  It 
represents  'Belshazzar's  Feast,'  and  is  now  in 
the  Boston  Athenaeum,  where  there  is  also  a 
'  Portrait  of  Benjamin  West,'  which,  with  that  of 
the  poet  Coleridge,  in  the  National  Portrait  Gal- 
lery, proves  that  Allston  excelled  in  portraiture 
as  well  as  in  historic  painting. 

The  works  of  this  artist,  the  pride  of  his  country, 
the  '  American  Titian,'  are  especially  remarkable  | 


for  beauty  and  power  of  colouring.  His  fondness 
for  the  terrible  is  especially  noticeable  in  '  Spa- 
latro's  Vision,'  in  '  Saul  and  the  Witch  of  Endor,' 
and  in  the  unfinished  '  Belshazzar's  Feast.' 

ALMELOVEEN,  Jan,  a  Dutch  painter  and 
engraver,  of  Mijdrecht,  near  Utrecht,  flourished 
towards  the  close  of  the  17th  century.  He  is  better 
known  by  some  etchings  of  landscapes,  executed 
with  great  lightness  and  intelligence,  after  the 
manner  of  Saftleven,  than  by  anything  he  has  left 
us  as  a  painter.     Among  his  plates  are  : 

A  portrait  of  Gisbert  Voetius ;  signed  J.  Almeloveen,  inv. 
ctfec. 

A  set  of  twelve  landscapes,  with  small  figures ;  J. 
Almeloveen,  inv.  etfce. 

Six  mountainous  landscapes,  with  figures  ;  Joan,  ah 
Almeloveen^  inv.  et  fee. 

The  Four  Seasons;  after  H.  Saftleven. 

Twelve  Views  of  Dutch  Villages  ;  after  the  same. 

ALOIS.     See  Alovigi. 

ALOISI,  Baldassare,  called  II  Galanino, 
was  born  at  Bologna  in  1578,  and  was  brought  up 
in  the  school  of  the  Carracoi,  to  whom  he  was 
related.  He  was  little  inferior  to  the  ablest  of  his 
fellow-students  ;  of  this  he  has  given  proof  in 
several  of  his  works  in  the  churches  at  Bologna, 
particularly  his  admired  picture  of  tlie  '  Visitation,' 
in  La  Carita,  so  highly  commended  by  Malvasia  ; 
and  the  '  Virgin  and  Infant,  with  St.  Jolin  the 
Baptist  and  St.  Francis,'  in  San  Paolo  in  Monte. 
He  visited  Rome  during  the  pontificate  of  Urban 
VIII.,  and  here,  according  to  Baglioni,hewasmuch 
employed  in  painting  portraits  of  the  most  illus- 
trious personages  of  his  time,  which  were  admired 
for  the  force  and  truth  of  their  colouring,  and  for 
their  extraordinary  relief.  He  also  painted  some 
works  for  the  churches  at  Rome,  of  which  the 
principal  was  the  great  altar-piece  in  the  church  of 
Gesii  e  Maria,  representing  the  'Coronation  of  the 
Virgin.'  He  died  at  Rome  in  1638.  He  was  also 
an  engraver,  and  imitated  Lanfranco,  Badalocchio, 
and  Guide  Reni.  He  engraved  fifty  plates  of 
Rapliael's  works  in  the  Loggie,  in  the  Vatican. 
Aloisi  had  two  sons,  ViTO  Andrea  and  Giosekpo 
Carlo,  who  were  painters. 

ALOVIGI,  Andrea  (or  Aloisi,  Aloysii,  and  Di 
LniGl),  of  Assisi,  called  L'  Ingegno,  was  born  about 
the  year  1470.  He  is  said  by  Vasari  to  have  been  a 
fellow-pupil  with  Raphael  under  Perugino,  and  to 
have  assisted  the  latter  in  the  Cambio  at  Perugia,  at 
Assisi,  and  in  the  Sistine  Chapel.  Ingegno,  Vasari 
adds,  became  prematurely  blind,  and  received  a 
pension  from  Pope  Sixtus  IV.  This  last  statement 
Runiohr  points  out  to  be  an  error,  as  the  Pope 
died  in  1484,  and  Raphael  did  not  enter  Perngino's 
studio  till  about  1496.  Numerous  pictures  — 
scattered  throughout  Europe  —  are  attributed  to 
Ingegno,  amongst  them  a  '  Madonna  and  Child,' 
in  the  National  Gallery,  which  is  now  ascribed  in 
the  catalogue  to  Pinturiochio.  Most  of  his  works 
are  in  the  manner  of  Fiorenzo  di  Lorenzo  Vasari 
is  the  only  early  writer  who  mentions  this  painter, 
and  Rumolir  has  shown  that  part  of  the  little  he 
lias  said  of  him  is  incorrect.  That  there  was  such 
a  painter  is  certain,  but  at  present  no  picture  can 
be  pointed  out  as  indisputably  the  work  of  his 
hand. 

ALS,  Peter,  a  Danish  historical  and  portrait 
painter,  born  at  Copenhagen  in  1725,  studied 
for  some  time  under  C.  G.  Pilo.  After  gaining 
the  first  great  prize  given  by  the  Academy  at 
Copenhagen  in  1755,  he  went  to  Rome  and  entered 
the  school  of  Mengs.    He  occupied  himself  chiefly 

27 


A  BIOGEAPHICAL  DICTIONARY  0¥ 


in  copying  the  pictures  of  Raphael  and  Andrea  del 
Sarto,  which,  it  is  said,  he  did  with  great  accuracy. 
He  also  copied  Correggio  and  Titian.  On  hi*: 
return  to  his  own  country  he  painted  some  good 
portraits  ;  but  his  colouring  was  too  sombre  to 
give  a  pleasing  effect  to  his  pictures  of  females, 
and  his  work  was  frequently  so  laboured  as  to  be 
deprived  of  all  animation.  Copies  of  the  works 
of  the  old  masters  by  Als  are  to  be  seen  in 
Denmark.     He  died  in  1775. 

ALSLOOT,  Denys  van,  a  portrait  and  landscape 
painter,  who  flourished  towards  the  close  of  the 
16th  and  the  beginning  of  the  17th  century,  was 
born  at  Brussels,  but  the  date  is  nowhere  recorded, 
and  but  little  is  known  of  his  life.  He  was,  about 
1600,  painter  to  the  Archduke  Albert  of  Austria, 
and  his  pictures  were  purchased  for  high  prices. 
He  died  in  the  year  1626,  or  earlier.  A  landscape 
with  the  storj'  of  Cephalus  and  Procris,  in  the 
Vienna  Gallery,  is  dated  1608.  The  figures  are 
by  H.  de  Clerck.  Two  pictures  by  him  are  in 
the  Brussels  Gallery  :  they  represent  the  Procession 
of  St.  Gudule  at  Brussels.  By  mistake,  a  second 
painter,  Daniel  van  Alsloot,  has  been  recorded 
by  Bome  writers ;  but  he  apparently  never  existed. 

ALT,  Jakob,  who  was  bom  at  Frankfort-on-the- 
Main  in  17811,  received  his  first  instruction  in  art 
in  his  native  city,  and  then  removed  to  Vienna  and 
entered  the  Academy,  and  soon  rose  to  fame  as  a 
landscape  painter.  He  then  made  various  journeys 
throughout  Austria  and  Italy,  painting,  as  he  went 
along,  views  in  the  neighbourliood  of  the  Danube 
and  in  the  city  of  Vienna.  In  later  life  Alt 
painted  much  in  water-colour;  he  was  also  an 
engraver  on  stone.  He  died  at  Vienna  in  1872. 
One  of  his  be.st  works  is  a  '  View  in  Venice,' 
in  the  Belvedere  Gallery,  signed  and  dated 
1834.  He  was  employed  by  the  Emperor  Ferdi- 
nand to  paint  in  water-colour  a  series  of  views  of 
Rome. 

ALTDORFER,  Albrecut,  a  painter,  engraver, 
and  architect,  was  born  not  later  than  1480.  In 
1505  he  was  enrolled  a  burgher  of  Ratisbon,  in 
which  connection  he  was  described  as  "  a  painter 
of  Amberg,  twenty-five  years  of  age."  It  is  not 
certain,  however,  whether  this  description  proves 
more  than  that  he  had  fully  attained  the  age 
(twenty-five  years)  at  whicli  the  freedom  of  the 
city  could  be  granted ;  and,  as  the  registration 
took  place  immediately  upon  his  arrival  from 
Amberg,  it  is  possible  he  was  older  than  the 
letter  of  the  record  appears  to  state.  The  place 
of  Altdorfer's  birth  has  not  been  determined,  though 
there  are  grounds  for  believing  that  he  was  of 
Ratisbon  stock  and  probably  of  Ratisbon  birth, 
Amberg  being  only  the  home  of  his  young  man- 
hood. But,  uncertain  though  it  be  whether  the 
migration  to  Hatisbon  in  1505  was  a  bold  adventure 
among  strangers  or  merely  a  return  home,  it  is 
indisputable  tluit  events  soon  justified  the  young 
burgher's  choice  of  a  city.  In  15  '8  he  received  an 
official  appointment,  and  in  1509  the  city  council 
gave  ten  gulden  towards  the  expense  of  a  picture 
which  he  painted  for  the  choir  of  St.  Peter's  clmrcli. 
Four  years  later  he  was  in  a  position  to  buy  a 
house  with  a  courtyard  and  a  tower,  the  first  of 
four  houses  purchased  by  him  during  his  thirty 
years  of  citizensliip.  Of  the  furnishing  of  these 
houses  his  will  gives  some  inkling,  with  its  notices 
of  chests,  pictures,  weapons,  gems,  stuffs,  coins, 
silver  goblets,  and  of  "  a  horse  with  trappings." 
His  worldly  prosperity  and  opulent  surroundings 


account  for  a  great  deal  both  in  the  form  and  in 
the  matter  of  his  art,  while  his  practical  activity 
as  city  architect  explains  not  a  little  more.  The 
bastions  which  he  erected  against  the  Turks  have 
been  swept  away,  but  the  public  slaughter-house 
built  from  his  designs  is  still  standing  ;  while  the 
important  arcliitectural  elements  of  '  Susannah,' 
'  Poverty  and  Riches,'  '  The  Birth  of  the  Virgin,' 
and  other  painting,s,  prove  that  he  was  not  merely 
a  perfunctory  Baumeister  but  an  enthusiast  for 
builded  stones.  Nor  was  it  only  as  painter  and 
architect  that  Altdorfer  served  Ratisbon  ;  he  was  a 
city  councillor,  and  it  is  characteristic  of  "  Meister 
Albrecht "  that  when  a  mob  burned  down  the  Jews' 
synagogue — a  building  of  which  he  had  twice 
made  etchings,  and  which  he  had  used  for  a  back- 
ground in  several  pictures — it  was  "  Meister 
Albrecht's  "  hand  which  signed  the  decree  for  the 
Jews'  expulsion.  By  virtue  of  so  wide  a  knowledge 
of  the  world,  this  wealthy  burgher  and  busy  man 
of  affairs  was  bound  to  differ  strongly  from  mere 
studio-artists,  and,  as  the  artist  in  him  always  had 
the  upper  hand — this  appears  from  many  incidents, 
sucli  as  his  retirement  from  higli  office  while  he 
was  painting  'The  Battle  of  Arbela' — his  variegated 
and  energetic  life  was  almost  wholly  to  his  artistic 
advantage.  The  widespread  belief  that  Altdorfer, 
in  respect  of  technical  mastery,  lags  fir  behind  the 
great  artists  who  devoted  themselves  almost  wholly 
to  their  art,  is  not  shared  by  any  competent  person 
who  has  made  it  his  business  to  examine  dis- 
passionately the  whole  body  of  this  master's  work. 
Paintings,  drawings,  etchings,  and  woodcuts  in 
turn  exliibit  an  extraordinary  sense  and  domination 
of  the  particular  medium.  As  a  colourist  he  must 
be  placed  very  high  indeed  among  the  Northern 
Masters,  and  his  work  is  full  of  air.  As  for  his 
drawings,  of  which  the  Berlin  Print  Room  has  the 
most  important  collection,  they  are  so  highly 
charged  with  poetical  feeling,  and  are  so  remark- 
able for  technical  accomplishment,  that  these 
almost  unknown  works  should  alone  suffice  to  lift 
their  creator  out  of  his  low  estate  as  a  mere  "  Little 
Master."  The  etchings,  especially  the  landscapes 
and  the  woodcuts,  some  at  least  of  which  appear 
to  have  been  cut  by  his  own  hand,  further  establish 
his  right  to  be  ranked  immediately  after  Diirer  and 
Holbein  in  German  art. 

Altdorfer  has  been  called  "the  Giorgione  of  the 
North,"  and  the  phrase  fits  its  subject  neither 
better  nor  worse  than  do  most  other  phrases  of  the 
kind.  But  to  his  other  style  of  "the  Father  of 
Landscape"  he  can  make  good  a  strong  claim. 
His  '  St.  George '  at  Munich  astounds  the  eye 
which  has  noted  its  age  (nearly  four  hundred 
years)  by  its  overwhelming  landscape  interest. 
Five-sixths  of  the  superficial  inches  of  the  canvas 
are  covered  by  the  innumerable  leaves  and  twigs 
of  trees  crowding  up  to  the  edges  of  the  picture  on 
every  side,  and  allowing  only  a  peep  through  the 
trunks  at  the  sky  low  over  a  rooky  horizon.  Nearly 
half  of  the  great  '  Battle  of  Arbela  '  is  a  confusion 
of  clouds  and  morning  light,  which  Turner  might 
have  painted;  and  the  'Nativity'  at  Bremen  is 
hardly  less  wonderful.  The  etchings  of  mountains 
and  of  fir-trees  are  as  picturesque  as  these  paintings, 
and  only  a  leisured  and  curious  townsman  could 
have  seen  and  rendered  their  content  of  natural 
beauty. 

In  expressing  the  human  figure,  and  especially 
the  forms  of  children,  Altdorfer  was  often  highly 
successful,    though    here    also    impatience    with 


PAINTERS  AND  ENGRAVERS. 


uncouth  and  sluggish  German  types  has  led 
admirers  of  the  more  gracious  southern  models 
to  reject  his  achievements  as  unbeautiful  in  con- 
ception, and  unskilful  in  execution.  From  this 
sluggishness  of  his  types  arises  also  the  frequerit 
denial,  which  is  equally  ill-grounded,  of  Altdorfer's 
dramatic  power.  In  the  woodcuts  the  German 
and  burgher  feeling  is  naturally  stronger  than  in 
the  paintings  and  drawings,  and  a  want  of  sym- 
pathy with  that  feeling  no  doubt  accounts  for 
the  comparative  indifference  to  his  fine  sequence 
of  forty  small  cuts  devoted  to  '  The  Fall  and 
Redemption  of  Man.' 

Altdorfer  died  on  the  12th  or  14th  of  February  in 
1538.  His  wife  had  predeceased  him  in  1632,  and 
both  their  bodies  were  laid  in  the  church  of  the 
Augustines,  the  painter  having  been  bursar  of  the 
Augustine  priory  during  the  last  four  years  of 
his  life.  Part  of  his  tombstone  was  preserved  when 
the  Augustines'  church  was  secularized  and  dis- 
mantled in  1840.  He,  who  had  painted  hundreds 
of  their  happy  faces  more  engagingly  than  any 
other  painter,  left  no  children  ;  but  his  was  not  the 
childless  man's  hard  heart,  and  it  is  worth  noting 
that  he  bequeathed  to  the  poor  a  silver  tankard 
which  had  been  his  wedding  gift  to  his  bride. 

Altogether  about  thirty  pictures  by  Altdorfer 
are  extant.     Among  them  may  be  named  : 

Augsburg.     Gallery.     Triptych — Crucifixion  and  Annun- 
ciation.    1517. 
„  „  Birth  of  the  Virgin. 

Berlin.        Museum.    Diptych  —  St.     Francis    and    St. 
Dominic  {siqyied  and  dated-  1507). 
„  „  Landscape  with  Figures  (sii/ned  and 

dated  1507). 
„  „  Best  on   the   Flight    into    Egypt 

(signed  and  dated  1510). 
„  „  The  Nativity. 

„  „  Landscape     with     Figures,     '  Der 

BetteU   sitzt   auf    der    Schleppe 
der  Hoffart'  (siqned  and   dated 
1531). 
Bremen.  Nativity. 

Glasgow.  St.  Hubert. 

Munich.  Pinakoihek.  The  Battle  of  Arbela  (dated  1529). 
„  „  Susannah  at  the  Bath  (signed  and 

dated  1520). 
„  „  Coronation  of  the  Virgin. 

„  „  Pieta. 

„  „  St.  George  ami  the  Dragon  (signed 

and  dated  1510). 
„  „  Landscape  with  figures. 

Nuremberg.  St.  Mau-  A  man  and  two  women  rescuing  the 
rice.         body  of   St.  Quirinus  from  the 
water.     (Three  pictures.) 
„     GermanMus.    Crucifixion  (tiatea!  1506). 
Katisbon.  Bathsheba. 

Sieua.  St.  Quirinus.    (Two  pictures.) 

Vienna.  Nativity. 

„  Virgin  and  Child,  St.  Joseph  and 

St.  John. 

The  entire  catalogue  of  his  engraved  designs, 
including  Passavant's  additions  to  Bartsch,  is  given 
below. 

His  monogram  occurs  in  the 
accompanying  forms  : 


^   ^ 


LIST   OF  ENGRAVINGS. 
(From  Meyer's  '  Kunstler-Lexikon.') 

ON   COPPER,    MANY    OF  THEM    ETCHINGS. 

Religious  Subjects. 

1.  Judith  with  the  head  of  Holofernes. 

2.  Samson  with  the  gates  of  Gaza. 

3.  Delilah  cutting  ofi:  Samson's  hair. 


4.  Solomon's  idolatry. 

5.  The  Repose  of  Joseph  and  Mary. 

6.  Virgin,  seated,  holding  the  Infant  Saviour. 

7.  Virgin,   seated   on   a   throne,  holding  the    Infant 
Sa\iour,  with  Angel. 

S.  Virgin  in  profile,  standing ;  with  the  Infant  Saviour. 

Anna  introduced. 
9.  Virgin  and  Child,  seated.    The  Infant  stretches  his 

arms  towards  two  children,  one  of  whom  otiers  a 

vessel  (signed  and  dated  1507). 

10.  The  Virgin  standing,  off eriug  an  apple  to  the  Infant 
(signed  and  dated  1509). 

11.  The  Virgin  sitting,  the  Infant  on  her  knees,  giving 
the  blessing. 

12.  The    Virgin   holding    the   Infant,    standing   on    a 
crescent. 

13.  The  Virgin  with  the  Infant  seated  on  clouds,  a 
Saint  to  the  right. 

14.  The  Infant  SaWotir ;  the  right  hand  blessing,  the 
left  holds  a  world. 

15.  Our  Lord  driving  the  merchants  from  the  temple 
10.  Ovu:  Lord  crowned  with  thorns,  meeting  Mary. 

17.  The  Little  Crucifixion. 

18.  The  Great  Crucifixion. 
\9.  St.  Christopher. 

20.  St.  George  and  the  Dragon. 

21.  St.  Jerome  reading. 

22.  St.  Jerome  writing. 

23.  St.  Sebastian  fastened  to  a  tree. 

24.  St.  Sebastism  fastened  to  a  pillar. 

25.  St.  Catherine,  sword  and  wheel. 

26.  The  Nunnery. 

27.  Two  Hermits. 


28.  Mercury,  springing  from  a  tree  into  the  sea. 

29.  Neptime,  on  a  sea-mouster. 

30.  Rape  of  a  Nymph. 

31.  Venus,  standing.     Two  Cupids  ;  one  holds  a  tablet. 

32.  Venus  seated  in  a  bath  ;  Cupid  on  a  pedestal,  after 
Marcantonio. 

33.  Venus  emerging  from  the  bath  ;  Cupid  on  the  left, 
after  Marcantonio. 

34.  Versus  on  a  lawn,  with  two  Cupids. 

35.  Judgment  of  Paris. 

36.  Triton,  Nereid,  and  Dolphins. 

37.  Man  and  Satyr  struggling  for  a  Nymph,  after 
Marcantonio. 

3S.  Thisbe  and  Pyramus. 

30.  Infant  Hercules  and  the  Snakes. 

40.  Hercules  subduing  the  Nemean  Lion. 

41.  Hercules  with  the  two  pillars. 

42.  Hercules  with  a  cornucopia  ;  a  Nymph  with  a  lyre 
on  the  left. 

43.  Centaur,  bearing  a  vessel  with  fire. 

44.  Winged  Genius,  holding  a  bubble. 

45.  Winged  Genius,  riding  on  a  stick. 

40.  Winged  Genius,  blowing  a  bagpipe  (dated  1521). 

47.  Fortune,  standing  on  a  globe  (signed  and  dated  1511). 

48.  Pride,  regarding  herself  in  a  mirror. 

49.  Pride,  seated  on  a  winged  serpent,  holding  a  mirror 
(siqned  and  dated  1506). 

50.  Nude  female  figure  on  a  star  ;  the  right  hand  hold- 
ing a  torch,  the  left  a  sceptre  (on  some  examples  the 
legend  Lascivia  occurs). 

51.  Dido  on  the  funeral  pile. 

52.  Lucretia  seated,  holding  the  dagger  (copied  with 
variations  from  Marcantonio,  doubtful). 

53.  Mutius  Scsevola. 

54.  The  Roman  lady,  on  a  pedestal,  from  the  mediaval 
story  of  Virgil :  male  figures  fetching  fire  from  her. 

55.  Soldiers  Standing,  one  drawing  his  sword.  frofiU, 
looking  to  the  left. 

56.  The'Warrior,  a  pole  on  his  shoulder.  Profile,  looking 
to  the  right. 

57.  The  Warrior.     Front  view,  holds  sword  and  halhert. 

58.  The  Knight.  One  hand  holds  a  vessel,  the  other  a 
loaf. 

59.  The  Drummer.  Marching  to  the  right  (signed  and 
dated  1510). 

60.  The  Little  Standard-bearer.  Hilly  landscape  in  back- 
ground. 

61.  The  Great  Standard-bearer.  Background  clear 
(siqned  and  dated  1508  or  1510). 

62.  The  Fiddler.    Left  hand  holds  the  haw. 

29 


A  BIOGBAPHICAL  DICTIONARY  OF 


63.  The  Contemplative  Man,  sitting  on  a  stone.  Sas 
been  supposed  to  be  the  Artist's  portrait. 

64.  The  Standard-bearer  on  the  right,  the  'Woman  on 
the  left. 

65.  A  Man  on  the  right,  grasping  a  curtain,  a  woman 
on  the  left. 

65.  (a)  The  Piper.  A  warrior,  with  a  hat  and  feather, 
is  Mowing  on  a  Jiute  {signed  and  dated  1510). 

65.  (J>)  Winged  child,  leaning  forward,  holding  a  shield. 

66.  A  Woman,  with  hat  and  feather,  half-length. 

67.  A  Woman  bathing  her  feet. 

68.  A  Woman  seated  on  some  armour,  and  holding  a 
vessel ;  after  Beham. 

69.  A  nude  female  figure,  with  a  candlestick. 

70.  Interior  of  the  old  Synagogue  at  Katisbon,  with  an 
inscription. 

71.  Vestibule  of  the  above,  with  two  figures,  and  an 
inscription. 

72.  Martin  Luther.  Profile,  to  the  right,  bearing  in- 
scription D.  L.  M,    Probably  after  Cranach  or  Hopfcr. 

73.  Head  of  a  yoimg  man,  with  long  hair,  and  no  beard 
{signed  and  dated  1507). 

Beyond  these,  Meyer  mentions  28  various  plates 
of  Ornaments,  Cups,  and  Vases,  and  ten  Landscapes. 

ON   WOOD. 
Isos.  1  to  40.  A  series  of  cuts  representing  the  Fall  and 
the  Eedemption,  all  marked  with  monogram. 

41.  Abraham's  Sacrifice. 

42.  Joshua  and  Caleb  with  the  fruit. 

43.  Jael  and  Sisera. 

44.  The  Annunciation  {dated  1513). 

45.  The  Adoration  of  the  Shepherds  (signed). 

46.  The  Murder  of  the  Innocents  (signed  and  dated 
1511). 

47.  A  magnificent  Font  in  a  chapel,  with  angels  and 
other  figures  (siffned). 

48.  The  Eesurrection  (signed  and  dated  1513). 

49.  The  Virgin,  in  a  church,  with  the  Infant  on  her  arm. 

50.  The  Virgin,  seated  as  on  an  altar,  with  the  Infant 
on  her  arm,  a  Deacon  praying  before  them. 

51.  The  Virgin  and  Child,  by  an  altar,  on  the  left  of 
which  are  figures  of  St.  Christopher  and  St.  Barbara, 
on  the  right  those  of  St.  George  and  St.  Catherine. 

52.  Our  Lady  of  Eatisbon :  a  balustrade  in  front  mth  a 
vase  of  flowers,  with  the  legend — 

"  Gantz  schon  bistu  mein  frundtin  vnd 
ein  mackel  ist  nit  in  dir.    Aue  MariaP 

53.  The  Decollation  of  St.  John  Baptist  (signed  and 
dated  1512). 

54.  A  Decollation  of  St.  John  Baptist  {signed  and  dated 

55.  St.  Christopher  stooping  to  take  up  the  Infant 
Jesus. 

56.  St.  Christopher  carrying  the  Infant  Jesus  across  the 
stream  (signed  and  dated  1513). 

57.  St.  George  on  horseback  thrusting  his  lance  into 
the  Dragon's  throat  (signed  and  dated  1511). 

58.  St.  George  standing,  the  Dragon  imder  his  feet 

59.  St.  Jerome  in  a  cave,  before  a  crucifix. 

60.  St.  Jerome.  A  crucifx  rests  against  a  rock  on  the 
left. 

61.  St.  Catherine  with  a  wheel.  Two  Angels  with 
musical  instruments ;  others  hold  a  crown  above  her 
head.  (Passavant  notes  this  cut,  but  no  copy  of  it  is 
now  known  to  exist.) 

62.  Judgment  of  Paris  (signed  and  dated  1511). 

63.  Thisbe  and  Pyramus  (signed  and  dated  1513). 

64.  A  Standard-bearer  in  a  landscape. 

65.  Two  lovers  seated  in  a  landscape  ;  a  horse  tied  to 
a  branch  of  a  tree  on  the  right  (signed  and  dated 
loll). 

66.  A  title-page.  Angels  playing  music ;  a  Holy  Family 
represented  below  on  the  left. 

67.  Three  plates  representing  peasants  (attributed  to 
Altdorfer  by  ffesseleg,  who  praises  them  highly). 

68.  A  richly  ornamental  gate  ;  the  ornaments  filled  in 
with  black. 


To  this  list  should  be  added  ten  of  the  eleven 
subjects  which  adorn  the  round  towers  of  "  The 
30 


Triumphal  Arch  of  Maximilian  "  (dated  1515),  and 
thirty-eight  subjects  in  "The  Triumphal  Pro- 
cession of  Maximilian."  K  J.  0. 

ALTDORFER,  Ebhard,  a  painter  and  engraver 
on  wood,  was,  in  all  probability,  brother  of  the 
well-known  artist  Albrecht  Altdorfer,  in  whose  will, 
dated  12th  Feb.  1538,  he  is  mentioned  as  a  citi- 
zen of  Schwerin.  He  was  court-painter  to  Duke 
Henry  the  Peaceable,  and  accompanied  him,  in 
1512,  to  a  royal  marriage  at  Wittenberg.  There 
he  appears  to  have  made  the  acquaintance  of  Lucas 
Cranach,  as  the  influence  of  this  master  is  seen  in 
his  productions.  He  painted  at  Sternberg  in  1516 
an  altar-piece  (now  no  longer  in  existence),  for 
which  Duke  Henry  engaged  to  pay  him  150 
Rhenish  florins.  In  1552  he  describes  himself 
in  a  letter  to  the  yoimg  Duke  John  Albert  of 
Mecklenburg  as  '  Baumeister,'  so  that  he  appears 
to  have  followed  the  profession  of  an  arcliitect  as 
well  as  his  brother.  We  know  him  only  by  his 
woodcuts,  two  of  which  are  indicated  by  a  mono- 
gram composed  of  the  letters  £  and  S  combined. 
His  work  consisted  principally  of  title-pages  and 
illustrations  for  various  works,  among  which  may 
be  noticed  the  Liibeck  Bible  of  1533,  and  an 
edition  of  '  Reineke  Fuchs,'  containing  35  cuts, 
published  at  Rostock  in  1539. 

ALTHAM,  — ,  a  German  painter,  who  flourished 
about  1660,  painted  landscapes  and  marine  subjects 
with  considerable  ability.  He  is  reported  to  have 
studied  with  Salvator  Rosa.  Works  by  him  are 
in  the  Colonna  Collection  at  Rome. 

ALTICHIERO  D.4  ZEVIO  (or  Aldighiebo), 
who  was  bom  at  Zevio,  a  village  near  Verona, 
painted,  with  Avanzi,  the  decoration  of  the 
chapels  of  SS.  Felice  and  Giorgio,  at  Padua. 
While  the  principal  part  of  the  frescoes  in  the 
chapel  of  San  Giorgio  is  attributed  to  the  latter 
artist,  for  the  former  are  claimed  the  first  seven 
pictures  in  the  chapel  of  San  Felice — formerly  San 
Jacopo — illustrating  the  life  of  St.  James  the 
Greater ;  and  from  documents  it  appears  that  the 
payment  for  the  frescoes  in  San  Felice  was  made 
to  Altichiero.  But  authorities  differ  much  as  to 
the  authors  of  the  various  works  in  both  chapels. 
Liibke  saj-s  tliat  Altichiero  displayed  in  his  works 
a  lively  conception  and  a  rich  finished  colouring, 
ind,  indeed,  with  the  exception  of  Orcagna's,  his 
paintings,  together  with  those  of  Avanzi,  were, 
up  to  that  period,  the  best  productions  since  the 
time  of  Giotto.  It  is  not  known  when  this  artist 
died.     He  painted  as  late  as  1382. 

ALTISSIMO,  Ckistofano  di  Papi,  dell'.  See 
Papi. 

ALTSL4NN,  Anton,  who  was  born  in  Vienna  in 
1808,  studied  from  nature,  and  under  the  instruction 
of  Mossmer  at  the  Academy.  After  being  instructor 
in  drawing  to  Count  Apponyi  in  Hungary,  he  settled 
in  Vienna,  and  became  famous  as  a  landscape 
painter.  He  died  there  in  1871.  Among  his  most 
important  works  are  the  following: 

Cloister  of  the  Convent  '  Maria  Schein,'  in  Be  bemi> 

1838. 
Forest  Scene.     1840. 
Marshy  Landscape.     1846. 
Evening  Landscape.     1847. 
Spring  in  a  Forest.     1851. 
The  MiU.     1851. 

Altmann  executed  landscapes  in  water-colour ; 
and  also  etched  from  his  own  designs. 

ALTMANN,  Karl,  who  was  born  at  Feucht- 
wangen  in  1800,  studied  from  1819  to  1822  in  the 


PAINTERS  AND  ENGRAVERS. 


Academy  at  Dresden.  He  then  went  to  Munich, 
where  he  resided  until  his  death  in  1861.  He 
represented  scenes  from  Bavarian  peasant  life, 
with  much  humour  and  originality. 

ALTOBELLO,  Francesco  Antonio,  a  Neapo- 
litan painter  of  the  17th  century,  was  a  scholar  of 
Carlo  di  Rosa,  who  had  studied  under  Massimo 
Stanzioni.  Altobello  used  ultramarine  excessively 
in  his  pictures,  contrary  to  Stanzioni's  practice. 

ALTOBELLO  da  MELONE.     See  Melonb. 

ALTOMONTE,  Andrea,  perhaps  a  son  of  Mar- 
tino  Altomonte,  flourished  at  Vienna  from  about 
1728  to  1763,  at  which  date  he  was  draughtsman 
to  the  Hoftheater.  He  engraved  Teniers's  pic- 
ture of  '  Abraham  and  Isaac  kneeling  to  sacrifice 
the  ram,'  in  Prenner's  'Vienna  Gallery.' 

ALTOMONTE,  Martino.     See  Hoheneerg. 

ALTZENBAGH,  Wilhelm,  an  engraver,  who, 
according  to  Heineken,  flourished  about  the  middle 
of  the  17th  century.  He  worked  at  Strasburg, 
Cologne,  and  Paris,  and,  in  conjunction  with  his 
son,  executed  twenty  plates  of  Bible  subjects. 

ALUNNO,  Niccol6.    See  Libebatore,  Niccol6 

DI. 

ALVAREZ,  Lorenzo,  studied  at  Valladolid  and 
Madrid  under  Bartolome  Carducho  ;  he  established 
himself  at  Muroia,  about  1638,  and  executed  several 
works  of  merit  in  the  convents  there. 

ALVAREZ,  Ldis,  was  born  at  Oviedo  in  1841, 
and  studied  at  the  Higher  School  of  Painting, 
Madrid,  and  under  Rainiundo  Madrazo.  In  1857 
he  went  to  Rome,  and  later  on  became  a  Director 
of  the  Museum  of  the  Prado,  Madrid.  He  obtained 
medals  at  Madrid  in  1862,  1864  and  1890,  and 
at  Munich,  Berlin,  and  Paris  in  1890.  Two  of  his 
works  are  in  the  Museum  of  Modern  Art,  Madrid, 
and  many  in  private  collections  in  America.  He 
died  in  1901. 

AMALTEO,  Girolamo,  the  brother  of  Pnmponio, 
was  instructed  by  him,  and  gave  proofs  of  a  noble 
genius,  which  is  manifested  in  his  works  of  design 
in  small  pictures,  which  appeared  like  miniatures, 
in  several  fables  executed  in  fresco,  and  in  altar- 
pieces  which  he  painted  in  the  church  of  San  Vito. 
He  is  hi|;hly  commended  by  Ridolfi  and  Renaldis. 
He  flourished  in  the  16th  century,  and  died  when 
still  young.  Graziano,  in  his  poem  of  '  Orlando,' 
styles  him  "Girolamo  Amalteo  de  vita  santa." 

AMALTEO,  PoMPONio,  who  was  born  at  San 
Vito,  a  town  in  Friuli,  in  the  year  1505,  was  the 
scholar  and  subsequently  son-in-law  of  Porde- 
none.  He  painted  several  historical  works  in 
fresco  in  the  churches  and  public  places  in  the 
vicinity  of  Friuli.  At  Belluno,  there  are  some 
pictures  painted  by  this  master,  it  is  said  in  1529, 
representing  subjects  of  Roman  history.  In  1532 
he  was  employed  at  Udine,  and  in  1533  he  painted 
for  the  duomo  of  San  Vito,  a  votive  St.  Roch, 
with  SS.  Apollonia,  Sebastian,  and  two  other 
Saints.  In  the  choir  of  the  church  of  Santa  Maria 
de  Battisti,  at  San  Vito,  are  frescoes  by  him,  dated 
1535,  representing  scenes  from  the  '  Life  of  the 
Virgin,'  &c. ,  which  are  now  much  injured  by  time 
and  decay.  In  1555  he  painted  the  organ  shutters 
at  Udine,  with  scenes  from  the  '  Life  of  Christ ; ' 
and  in  1576  he  executed  '  The  Entombment,'  in 
the  Monte  di  Pieta  at  Udine.  Many  of  the  churches 
and  public  buildings  in  and  around  Friuli  and 
Treviso  possess  frescoes  and  paintings  by  him. 
The  frescoes  of  '  Daniel  and  Susanna,'  and  the 
'  Judgments  '  of  Solomon  and  Trajan,  in  the  town- 
hall  at  Ceneda,  supposed  by  Ridolfi  to  have  been 


painted  by  Pordenone,  were  really  the  work  of 
Amalteo,  and  finished  by  him  in  1536.  He  died 
at  San  Vito,  in  1584. 

AMAND,  Jacques  FBANgois,  who  was  born  at 
Gault,  near  Blois,  in  1730,  studied  under  Pierre, 
and  became  a  good  historical  painter.  In  1756 
he  gained  the  Prix  de  Borne  for  his  'Samson  and 
Delilah ; '  he  afterwards  exhibited  at  the  Salon 
numerous  subjects  from  ancient  history  and 
mythology.  He  also  engraved  several  of  his  own 
compositions.  He  died  at  Paris,  in  1769. 
AMANN.     See  Amman. 

AMATO,  Francesco,  an  Italian  engraver  of  the 
17th  century.     Of  his  paintings  little  is  known  ; 
but   he  has  left  some  slight  etchings,  which  are 
executed   with   spirit,   in   the   style  of   Biscaino, 
among  which  are  the  following: 
St.  Joseph  seated,  reading  a  book,  with  the  Infant  Jesus 
near  him — an   upright  plate;    inscribed    Franciscus 
Amntus,  inv. 
The  Prodigal  Son. 

AMATO,  Giovanni  Antonio  d',  called  'the 
elder,'  was  born  at  Naples  about  the  year  1475. 
He  was  the  disciple  of  Silvestro  Bruno,  or  Buono, 
an  old  Neapolitan  painter  then  in  repute,  but  did 
not  study  long  under  him,  as  the  latter  died  when 
Amato  was  young  ;  he  afterwards  applied  himself 
to  the  study  of  the  works  of  Pietro  Perugino, 
whose  manner  he  followed.  Tliere  are  several  of 
his  works  in  the  churches  at  Naples.  In  San  Do- 
menico  Maggiore,  in  the  chapel  of  the  family  of 
Carraffa,  is  a  picture  by  this  master  of  'Tlie  Holy 
Family.'  He  worked  botli  in  oil  and  in  fresco, 
and,  being  an  artist  of  considerable  eminence, 
had  a  great  number  of  scholars,  amongst  whom 
were  Giovanni  B.  Azzolini,  Pietro  Negroni,  Simone 
Papa  the  younger,  Cesare  Turco,  and  others. 
Though, professionally  a  painter,  his  favourite 
study  was  theology  ;  and  he  was  celebrated  for 
his  expositions  of  many  obscure  passages  of  Scrip- 
ture.    He  died  in  1555. 

AMATO,  Giovanni  Antonio  d',  'the  younger,' 
nephew  of  the  elder  Araato,  was  born  at  Naples, 
in  1535.  He  excelled  chiefly  in  colouring,  and 
some  of  his  pictures  are  as  richly  coloured  as  those 
of  Titian.  His  best  work  is  tlie  large  altar-piece 
of  the  Infant  Christ  in  the  church  of  the  Banco  de' 
Poveri  at  Naples,  in  whicli  city  he  died  in  1598. 

AMATRICE,  Dell'.    See  Dell'  Amatrioe. 

AMAYA,  — ,  an  historical  painter,  scholar  of 
Vincenzo  Carducho,  and  rival  of  Lorenzo  Alvarez, 
painted  at  Segovia,  in  1682,  several  pictures  illus- 
trating the  Life  of  St.  Martin,  remarkable  for  their 
correct  design  and  colour.  He  died  about  1690 
or  1692., 

AMBERES,  Francisco  de,  a  painter  and  sculp- 
tor of  Toledo,  the  cathedral  of  which  he  orna- 
mented with  his  pictures  in  1502.  From  1508  to 
1510  he  painted,  in  conjunction  with  Juan  de  Bor- 
goiia  and  Juan  de  Vil'oldo,  the  arabesque  chapel, 
which  is  still  an  interesting  object. 

AMBERES,  Miguel  de — called  in  Spain,  Miguel 
el  Flamengo — is  also  the  same  person  as  Miguel 
Manrique.  He  was  born  in  PLnnders,  and  learned 
his  art  tliere  under  Rubens,  and  afterwards,  at 
Genoa,  from  Giovanni  Andrea  de'  Ferrari,  and 
Cornells  Wael.  He  subsequently  obtained  a  com- 
mission as  captain  of  a  troop  in  the  Spanish  service, 
and  went  to  Spain  and  settled  in  Malaga,  where 
are  several  works  by  him  in  the  churches  and  else- 
where. His  portraits  are  executed  in  a  style 
similar  to  that  of  Van  Dijck.     Miguel  de  Amb^res 

31 


A  BIOGRAPHICAL  DICTIONAUT  OF 


died  ID  Spain  in  the  latter  half  of  the  17th  cen- 
tury. 

AMBEEGER,  Chbistoph,  was  born  about  the 
year  1490,  or  later.  Nuremberg,  Ulm,  and  Am- 
berg  are  all  given  by  various  authors  as  his  birth- 
place ;  and  some  writers  say  he  studied  imder  his 
father,  one  Leonhard  Amberger.  Certain  it  is, 
however,  that  Augsburg  was  the  scene  of  his 
labours.  He  was,  Doppelmayer  says,  the  disciple 
of  Hans  Holbein  the  elder.  "  He  probably  studied 
under  Hans  Burgkmair,  and  the  paintings  of  Hans 
Holbein  the  younger  had  an  evident  effect  on  his 
style,  so  much  so  that  his  works  have  been  some- 
times mistaken  for  those  of  Holbein.  He  painted 
a  set  of  twelve  pictures  representing  the  '  History 
of  Joseph  and  his  Brethren,'  which  gained  him 
great  reputation.  He  succeeded,  however,  better 
in  portraits  than  historical  subjects.  In  153"2  he 
painted  the  portrait  of  the  Emperor  Charles  V.  ; 
and  Sandrart  tells  us  that  this  portrait  was  con- 
sidered by  that  monarch  equal  to  any  of  the 
pictures  painted  of  him  by  Titian.  He  certainly 
honoured  the  artist  by  giving  him  a  gold  chain 
and  medal  on  the  occasion.  The  original  is  in  the 
Institute  of  Fine  Arts  at  Siena,  and  is  there  ascribed 
to  Holbein.  The  one  at  Berlin  is  a  replica,  by 
Amberger.  He  died  at  Augsburg,  in  1563.  From 
amongst  Amberger's  pictures,  which  are  rarely 
signed,  the  following  may  be  selected  as  some  of 
the  best : 


Augsburg.  Cathedral.  Virgin  and  Child. 

Berlin.      JIuseum.      Portrait  of  Charles  V.  {signed). 

„  „  Portrait  of  Sebastian  Munster  (dated 

15521. 
Frankfort.  Stddel.      Portn^it  of  a  young  man. 
Vienna.     Galttry.    Portrait  of  Martin  Weiss  (jiairi^td  i;i 
1554). 
„  „         Six  other  portraits. 


AMBLESTG.     See  Amlixg. 

AMBKOGI,  DoiiEXico,  called  Mexichixo  del 
Bbizio,  from  the  master  imder  whom  he  studied, 
Francesco  Brizio,  was  bom  at  Bologna,  about 
the  year  1600,  and  distinguished  himself  as  a 
painter  of  history,  both  in  oil  and  in  fresco.  He 
also  excelled  in  representing  landscapes,  and  per- 
spective and  architectural  views,  and  was  much 
employed  in  the  churches  and  palaces  at  Bologna. 
In  the  UflSzi  there  are  two  landscapes  containing 
sacred  subjects  by  him.  In  San  Giacomo  Mag- 
giore,  is  a  picture  by  Ambrogi  of  the  'Guardian 
Angel,'  and  in  the  Annunziata,  ■  St.  Francesco,' 
with  a  glory  of  angels.  In  1653  he  published 
some  woodcuts,  from  his  own  designs,  printed  in 
chiaroscuro,  of  which  one,  mentioned  by  Heineken, 
represented  a  woman  in  a  triumphal  car,  holding 
two  flambeaux  and  a  serpent,  and  conducted  by 
Neptune.  By  him  are  also  a  drawing  for  the  Thesis 
of  Julius  Calaverius,  and  '  Painting  and  Sculpture.' 
Amongst  the  pupils  of  Ambrogi  were  Giacinto 
and  Pier  Antonio  Cerva,  Giovanni  Antonio  Fumi- 
ani,  and  Giacinto  Campana. 

AMBROGI,  Marco  degli.    See  Degli  Amebogi. 

AMBUOZY,  Wen-zel  Berxhard,  who  was  bom 
at  Kuttenberg,  in  Bohemia,  in  1723,  received  in- 
struction in  an  at  Prague  from  his  brother  Joseph, 
who  was  a  miniature  painter.  He  was  court- 
painter  to  Maria  Theresa,  and  the  last  president  of 
the  Painters'  Guild  at  Prague.  He  painted  por- 
traits and  altar-pieces  in  oil  ;  but  was  also  famous 

32 


for  his  frescoes,  which  adorn  many  of  the  churches 
and  castles  of  Prague,  and  other  places  in  Bohemia. 
He  died  in  1806. 

AMEDEE  DE  NOE  ('  Cham  ').    See  Noe. 

AMELSFOORT,  Quibisus  van,  was  bom  at  Bois- 
le-Duc  in  1760,  and  died  there  in  1820.  He  painted 
allegories,  history,  and  portraits  ;  in  the  last  the 
likenesses  were  remarkable  for  their  truth. 

AMERIGI,  Michel  Axgiolo,  da  Cabavaggio, 
(or  Amebighi,  or  Mobigi),  was  born  at  Caravaggio, 
a  village  in  the  Milanese,  in  1569.  He  was  the  son 
of  a  mason,  and  was  employed  when  a  boy  to  pre- 
pare the  plaster  for  the  fresco  painters  at  Milan. 
The  habit  of  seeing  them  work  inspired  him  with  the 
ambition  of  becoming  an  artist ;  and  without  the 
instruction  of  any  particular  master,  he  attached 
himself  to  a  faithful  imitation  of  nature,  and 
formed  to  himself  a  manner  which,  from  its  singu- 
larity, and  a  striking  effect  of  light  and  shadow, 
became  extremely  popular.  For  a  few  years  he 
confined  himself  to  painting  fruit,  flowers,  and 
portraits,  which  were  much  admired  for  the  fidelity 
of  their  resemblance.  Such  was  his  rigid  ad- 
herence to  the  precise  imitation  of  his  model,  that 
he  copied  nature  even  in  her  deformities,  and  he 
afterwards  continued  the  same  slavish  mechanism 
in  the  higher  department  of  historical  painting. 
After  five  years  of  steady  application  in  Milan, 
Caravaggio  removed  to  Venice,  where  he  greatly 
improved  his  colouring  by  studying  the  works  of 
Giorgione  ;  and  the  pictures  painted  in  his  earlier 
manner  are  infinitely  preferable,  in  point  of  colour, 
to  his  later  works.  From  Venice  he  went  to  Rome, 
in  which  city,  finding  himself,  through  poverty, 
unable  to  gain  a  livehhood  as  an  independent 
painter,  he  engaged  himself  to  Cesare  d'Arpino, 
who  employed  him  to  execute  the  floral  and  orna- 
mental parts  of  his  pictures.  Caravaggio,  how- 
ever, was  soon  enabled  to  paint  for  himself.  The 
novelty  of  his  maimer  both  pleased  and  surprised ; 
and  his  works  soon  became  so  generally  the  objects 
of  public  admiration,  that  some  of  the  greatest 
artists  then  in  Rome  were  induced  to  imitate,  with- 
out approving,  the  new  style  of  Amerigi.  Guido  and 
Domenichino,  to  gratifj-  a  corrupt  public  taste,  were 
for  some  time  under  the  necessity  of  abandoning 
their  suavity  and  their  grace,  to  follow  this  vulgar 
though  vigorous  trickery  of  Caravaggio.  This  in- 
fatuation did  not,  however,  continue  long ;  the 
attractions  of  the  grand  and  the  beautiful  resumed 
their  sway  over  public  opinion.  After  executing 
many  important  works,  Caravaggio  was  obliged  to 
leave  the  city  on  accoimt  of  the  death  of  a  friend, 
whom  he  had  killed  in  a  fit  of  anger  ;  he  repaired  to 
Naples,  whence  he  went  to  Malta,  where  he  was 
patronized  by  the  grand-master  Vignacourt,  whose 
portrait  he  twice  painted.  Once  more,  through 
his  hot  and  fiery  temper,  Caravaggio  was  driven 
from  the  town  of  his  choice.  He  quarrelled  with 
a  knight,  who  threw  him  into  prison.  Caravaggio, 
however,  escaped  from  captivity  and  fled  to  Syra- 
cuse, whence  he  went  to  Naples  by  way  of  Messina 
and  Palermo.  Having  obtained,  through  the  in- 
fluence of  his  friends,  the  Pope's  pardon  for  the 
manslaughter  of  his  companion,  Caravaggio"  set 
sail  from  Naples  for  Rome,  but  he  was  taken 
prisoner  on  the  way  by  some  Spaniards,  in  mistake 
for  another  man.  On  being  set  at  hberty,  he  had 
the  misfortune  to  find  that  the  boatmen  had  gone 
off  with  the  felucca  and  his  property.  He  con- 
tinued his  way  as  far  as  Porto  Ercole,  where,  partly 
from  his  loss,   and  partly  from  the  heat  of  the 


MICHEL  ANGIOLO  AMERIGHI 

lALI.EII 

CARAVAGGIO 


Hanfstingl  photo] 


[  /  'ienna 


THE  LUTE-PLAVER 


PAINTERS  AND  ENGRAVERS. 


weather,  he  was  taken  ill,  and  died  in  1609.  The 
merit  of  Caravaggio  is  confined  to  colour,  and  to 
an  extraordinary  effect,  produced  by  a  daring  con- 
trast of  light  and  shadow,  which  only  belongs  to 
nature  in  abstracted  situations.  To  give  it  veracity 
we  must  suppose  the  light  to  proceed  from  a 
partial  and  prescribed  aperture,  which  alone  can 
sustain  the  illusion.  He  seldom  ventured  on 
works  that  required  the  arrangement  of  a  grand 
composition,  for  which  his  wantof  academic  study 
rendered  him  totally  inadequate ;  he  contented 
himself  with  subjects  he  could  represent  in  half- 
length  figures,  and  which  did  not  demand  a  correct 
delineation  of  the  nude. 

Berlin.       Museum.    Love  as  aniler;  Conquered  Love; 

Phyllis     (from    the    Giustiniani 
Collection), 

Card-players ;  Four  others. 

Christ  and  the  two  Disciples   at 
Emmaus. 

Death  of  the  Virgin  ;  The  Fortune- 
teller;   A  Concert;   Portrait   of 
Alof. 
Petrsburg.  Hermitage.  Ecce   Homo ;    Martyrdom    of    St. 

I  \  Martyrdom  of  St.  Peter ;  ^0^ 
)     Conversion  of  St.  Paul.  Jt^  »■  ^ 
The  Entombment  (his  masterpiece). 


Dresden.     Gallery. 
Ijondon.  Nat.  Gall, 


Paris. 


Louvre. 


Home.  S.  Maria  del  \ 
Popolo. 
„     Vatican  Mus. 


AMERLING,  Friedrich,  painter,  was  born  at 
Vienna,  April  14, 1803.  After  some  hard  struggles 
occasioned  by  narrow  means,  he  succeeded  in 
entering  the  Vienna  Academy  as  a  pupil,  and 
completed  his  training  under  Lawrence  in  London 
and  under  Vernet  in  Paris.  On  his  return  to 
Vienna  he  gained  the  first  prize  at  the  Academy 
with  his  '  Dido  forsaken '  and  '  Moses  the  Law- 
giver.' He  several  times  visited  Italy.  He  became 
a  very  popular  portrait  painter  in  his  native  city, 
but  continued  to  paint  occasional  historical  and 
subject  pictures.  Among  his  best  known  works  in 
each  genre  we  may  name :  portraits  of  himself,  of  the 
Emperor  Francis  I.,  of  Thorwaldsen,  of  Franz  Grill- 
parzer,  and  of  Prince  Windischgratz,  also  'Judith,' 
'  Ophelia,'  '  The  Widow,'  '  Roman  Woman  with  her 
Infant.'  Amerling  was  a  member  of  the  Vienna 
Academy.     He  died  at  Vienna  in  January,  1887. 

AMICI,  Francesco,  was  an  Italian  engraver,  of 
Florence,  of  the  18th  century,  who  engraved  some 
small  plates  of  sacred  history  subjects,  among 
which  are : 

Christ  on  the  Mount  of  Ohves;  Christ  before  Pilate; 
Christ  bearing  His  Cross ;  The  Entombment  of  Christ, 

AMICO.     See  Aspertini. 

AMICO  Di  SANDRO.    See  Filipepi. 

AMICONL     See  Amigoni. 

AMIDANO,  GiULio  Cesare  (wrongly  called 
PoMPONio),  was  a  native  of  Parma,  and  painted 
from  about  1560  to  1628.  From  the  resemblance 
of  his  works  to  those  of  Parmigiano,  he  is  sup- 
posed to  have  frequented  his  school.  If  not  his 
disciple,  he  was  certainly  one  of  the  most  success- 
ful followers  of  his  style.  His  heads  are  noble 
and  graceful,  and  his  design  full  of  taste.  His 
best  performance  was  his  picture  painted  in  the 
church  of  the  Madonna  del  Quartiere,  which  has 
been  mistaken  by  good  judges  for  the  work  of 
Parmigiano.  Orlandi  relates  that  many  of  the 
pictures  of  Amidano  were  purchased  by  foreigners. 

AMIEL,  Loois  Felix,  a  French  portrait  painter, 
was  born  at  Castelnaudary  (Aude)  in  1802.  He 
was  a  pupil  of  Baron  Gros,  and  died  at  Joinville- 
le-Pont  in  1864. 

AMIGAZZI,  Giovanni    Battista,   a  painter  of 
D 


Verona,  who  flourished  about  the  middle  of  the 
17th  century,  was  a  scholar  of  Claudio  Ridolfi  ; 
his  chief  talent  consisted  in  the  excellence  of  his 
copies,  and  several  of  his  works  have  been  mis- 
taken for  those  of  his  master.  A  copy  which  he 
made  of  Paolo  Veronese's  '  Supper  in  the  House  of 
the  Pharisee '  is  not  only  finely  drawn,  but  its 
colours  are  fresh  and  vivid  even  at  the  present 
day. 

AMIGONI,  Jaoopo,  (or  Amiconi),  was  born  at 
Venice  in  1675.  Ho  painted  historical  subjects 
and  portraits.  His  first  works  at  Venice  were 
two  altar-pieces  in  the  church  of  the  Fathers  of  the 
Oratorio,  and  a  picture  of  '  St.  Catherine  and  St. 
Andrew,'  for  the  church  of  St.  Eustache.  He 
afterwards  visited  Rome,  and  from  thence  went  to 
Munich,  where  he  settled  for  some  time  ;  but  his 
chief  performances  are  in  England,  whither  he  came 
in  1729  ;  he  resided  here  ten  years.  Whatever  may 
be  the  merit  of  his  works,  they  were  for  some  time 
in  great  vogue.  He  was  employed  by  several  of 
the  nobility  in  ornamenting  their  houses.  After 
leaving  England  in  1739  he  retume4  to  Venice, 
where  he  remained  till  1747  ;  he  then  went  to 
Spain,  and  resided  there  until  his  death,  which 
took  place  at  Madrid  in  1752.  He  etched  a  few 
plates  in  a  tame,  spiritless  style  ;  the  following  are 
the  principal : 

Salvator  Mundi ;  half  length. 
Jupiter  and  Callisto. 
Zephyrus  and  Flora. 
Batbsheba  in  the  Bath. 
Madonna  and  Child. 
Narcissus. 

AMIGONI,  Ottavio,  (or  Amiconi),  was  born  at 
Brescia  in  1605,  and  was  a  scholar  of  Antonio 
Gandini.  His  chief  excellence  was  in  fresco 
painting,  which  he  treated  with  great  ability,  in 
the  manner  of  Paolo  Veronese.  In  the  Carmelite 
Church,  in  his  native  city,  is  a  very  considerable 
work  in  fresco,  executed  in  conjunction  with 
Bernardino  Gandini,  the  son  of  his  master,  which 
is  much  extolled  by  Averoldi.  The  subjects  were 
taken  from  the  Life  of  St.  Alberto.  He  died  in 
1661. 

AMIL,  G.  P.  DE  LA  VILLA.  See  De  la  Villa- 
Amil. 

AMLING,  Carl  Gustav,  (or  Ambling),  a 
draughtsman  and  engraver,  was  born  at  Nurem- 
berg in  1651.  He  was  taken  under  the  protection 
of  Maximilian  II.,  Elector  of  Bavaria,  who  sent  him 
for  improvement  to  Paris,  where  he  received  the 
instruction  of  F.  de  Poilly,  whose  manner  he  fol- 
lowed, but  whose  excellence  he  never  equalled, 
although  he  became  a  very  good  artist.  After  a 
few  years  he  returned  to  Munich,  and  was  ap- 
pointed court-engraver  to  his  patron,  Maximilian 
Emmanuel,  whose  portrait  he  engraved,  as  well  as 
those  of  many  members  of  the  electoral  family. 
Amling  died  in  1703.  He  engraved  a  great  num- 
ber of  plates  of  historical  subjects  and  portraits, 
but  was  much  more  successful  in  the  latter,  many 
of  which  have  great  merit.  His  drawing,  par- 
ticularly in  the  nude,  is  not  correct ;  and  in  all  his 
prints,  except  his  portraits,  there  is  a  want  of  effect. 
The  following  list  comprises  all  his  plates,  except 
those  he  engraved  for  the  academy  of  Sandrart, 
and  some  prints  after  tapestry,  which  were  private 
plates  in  the  possession  of  the  Elector  of  Bavaria  : 

PORTRAITS. 
Maximilian  Emmanuel,  Elector  of  Bavaria;  after  T. 
Macolitiut,  dated  1670,  an  oval  very  scarce. 

33 


A  BIOGRAPHICAL  DICTIONARY  OF 


Maximilian  Emmanuel;  after  J.  B.  Champagne ;  one  of 

his  best  works. 
Equestrian  statue  of  Masdmiljan  Emmanuel ;  after  Ah- 

leititer. 
Henrietta  Maria  Adelaide,  Duchess  of  Bavaria ;  after 

Delamonce^  1675  ;  oval. 
Ferdinand  Maria,  Duke  of  Bavaria,  1676 ;  oval. 
Count  Johann  von  Berlo  de  Brus,  Stadtholder  of  In- 

goldstadt,  1680  ;  large  oval. 
Alexander  Sigismund,    Bishop  of   Augsburg;    P.  F. 

Hamilton^  ptjix, 
Eomain  Liberiet,  Abbot  of  St.  Ulrich,  Afra,  and  in 

Augsburg;  after  himself ;  a  fine  portrait;  oval. 
Petrus  Marinus  Sormannus ;  in  a  medallion. 
Livio  Prince  Odescalchi  ;  in  a  medallion. 
Marcus  ab  Aviano,  1680 ;  oval. 
A  young  prince  conducted  to  the  throne  by  Hercules 

and  Nestor;  at  the  foot  of  the  throne  is  inscribed, 

Ungaria. 
Two  plates  of  statues ;  engraved  for  Sandrart's  Deutsche 

A.hademie. 

SACRED   AND    HISTORICAL   SUBJECTS. 
The  Virgin  and  ChUd,  with  two  portraits  ;  after  J.  A . 

Wolff ;  a  very  large  plate. 
The  Image  of  the  Virgin  of  Consolation ;  1682 ;  large 

plate,  oval. 
Vero  Eitratto  di  S.  Francesco  d'Assisi. 
St.  Nicholas  of  Tolentino;   after  J.  A.    Wolff,  1691; 

large  plate. 
Vrai  Portrait  de  St.  John  de  S.  Facundo ;    after   the 

same;  large  oval. 
St.  Godard  kneeling  before  the  Virgin ;  /.  Drentwet, 

del. 
Ten  plates  in  folio — Of  a  triumphal  arch  in  honour  of 

the  Elector  Maximilian  Emmanuel. 
Grand  Thesis,  dedicated  to  the  Emperor  Leopold  and 

his  son  Joseph  ;  i?.  P.  Antonius  LumtinsJcy,  del. 
Another  large    plate,  representing  the  Virgin  Mary 

treading  on  the  Serpent,  accompanied  by  the  four 

Doctors  of  the  Church. 

AMMAN,  Jeremias,  an  engraver  of  portraits, 
who  worked  at  Schafihausen  from  about  1660  to 
1670,  executed,  in  conjunction  with  his  son,  Johann 
Amman,  the  plates  to  Patin's  Impfvatorum  Ro- 
vianorum  2^umismata  (1671),  chiefly  from  the 
drawings  of  F.  Chauveau. 

AMMAN,  Johaxn',  a  son  of  Jeremias  Amman, 
■was  a  native  of  Schaffhausen,  and  flourished  about 
the  year  1700.  He  engraved  a  few  portraits, 
among  which  is  one  of  John  Locke. 

AMMAN,  JoHAVTN,  a  German  engraver,  who 
was  living  at  Hanau  about  1640.  Previously  he 
engraved  a  set  of  small  woodcuts,  representing 
the  Passion  of  our  Saviour.  They  are  executed  in 
a  neat  and  spirited  style,  and  possess  considerable 
merit.  They  were  published  at  Amsterdam  in 
1623,  witli  Latin  verses. 

AMMAN,  JosT,  was  a  painter  as  well  as  en- 
graver, but  owes  his  reputation  chiefly  to  his 
excellence  in  the  last-mentioned  branch  of  art. 
He  was  born  at  Zurich  in  Switzerland,  in  1539.  The 
name  of  his  instructor  in  art  is  not  recorded.  In 
1560,  he  left  Zurich,  and  went  to  Nuremberg, 
where  he  worked  until  his  death,  in  1591.  Of  his 
paintings  we  have  no  further  account,  than  that 
his  works  in  stained  glass  were  richly  and  bril- 
liantly coloured.  His  pen-drawings  partake  of  the 
spirit  and  neatness  of  his  prints,  and  are  preserved 
in  the  portfolios  of  the  curious.  As  an  engraver, 
he  was  one  of  the  most  laborious  of  the  industrious 
artists  of  his  country,  who  have  so  ably  and  amply 
contributed  to  the  advancement  of  the  art.  The 
number  of  his  plates  is  prodigious,  and  his  work 
amounts  to  upwards  of  five  hundred  and  fifty 
prints,  many  of  which  being  of  a  diminutive  size,  he 
is  sometimes  ranged  among  the  artists  denominated 

34 


the  Little  Masters.  He  engraved  on  wood  and  on 
copper,  but  the  productions  from  the  latter  are  ' 
very  inferior  to  those  from  the  former.  His  draw- 
ing, in  general,  is  tolerably  correct ;  and  his  exe- 
cution, particularly  in  his  animals,  is  smart  and 
spirited  ;  his  manner  of  engraving  is  neat  and 
decided.  This  artist  used  no  less  than  twelve  dif- 
ferent marks  in  his  plates,  but  they  all  consist  in  a 
cipher  composed  of  the  letters  /and  A,  as  follows : 

c^  0^  X\  c,?^  ^K 

COPPER  PLATES. 

Twelve  small  plates,   arched— Of    illustrious   women 

of  the  Old   Testament,  beginning  with  Eve :   title, 

Eva  die  Gebererin.  Jost.  Amman,  fee.;  Stef.  Herman, 

exc. 
Eight  figures  of  warriors   in   ancient  costume,  small 

upright  plates  ;  marked,  Jost.  Amman,  Inventor.  1590. 
Eight  plates — Of    persons  fighting  with  swords   and 

sticks ;    small  plates,  lengthways ;  marked  with  his 

cipher. 
Six  very  small  plates  of  friezes.  Hunting  scenes. 
Eight  small  plates,  lengthways,  the  Four  Seasons,  and 

the  Four  Elements.     1569. 
Twelve  small  upright  plates  arched — Of  the  months 

in  the  year,  represented  in  full-length  figures;  Jo. 

Amman, fee. 
A  set  of  plates  for  a  Bible  published  at  Frankfort. 

1571. 
The  Bombardment  of  a  Town ;  Jo.  Amman,  fee.    1570. 

Large  plate,  lengthways. 
Admiral  de  Cohgny ;  fecit  Norimbergis,  Jost.  Amman, 

Tigurinus.     1573. 

WOODCUTS. 

The  Creation,  large  print ;  marked  /.  A. 

An  oval  print,  the  Diet  of  the  Empire ;  large,  length- 
ways. 

The  Marriage  of  Cana  middle-sized  print,  lengthways, 
J.  A. 

A  set  of  one  hundred  and  fifteen  prints  of  arts  and 
trades,  first  printed  under  the  title,  Ilai/o-jrXta,  om- 
Ki'«»i  illiberalium,  meehanicartim,  out  sedentariarum 
artium  genera  continens,  printed  at  Frankfort  in  156S. 
This  edition  is  very  scarce ;  the  book  was  reprinted 
in  1574. 

A  set  of  one  hundred  and  three  prints  of  subjects  from 
Soman  History,  published  at  Frankfort,  in  1573, 
with  the  portrait  of  S.  Feyrabend,  the  celebrated 
bookseller. 

A  book  of  hunting ;  entitled  Newe  Figuren  von  allerlei 
lag  und  Weidttcerck.     Frankfort,  1582. 

A  set  of  one  hundred  and  three  prints  for  a  work  en- 
titled Cleri  totius  Romante  Ecclesite  stibjecti,  ifc. 
Frankfort.     1585. 

A  set  of  one  hundred  and  twenty  prints  for  a  book 
entitled  Gi/n<ieeum,  sue  Theatrum  Mulierum,  SfC. 
Frankfort,  1586. 

A  complete  list  of  his  works  is  given  in  Meyer's 
'  Kiinstler-Lexikon. ' 

W.  B.  S. 

AMMON,  Klemen'S,  a  son-in-law  of  Theodor  de 
Bry,  the  celebrated  engraver,  worked  in  Frankfort 
and  Heidelberg,  in  the  middle  of  the  17th  century. 
His  principal  work  was  the  continuation  of  the 
collection  of  portraits  entitled,  Bibliotheca  Gal- 
cograpM-ca,  in  six  quarto  volumes,  published  by 
Theodor  de  Bry,  to  which  he  added,  at  Frankfort, 
two  volumes,  published  in  1650  and  1652.  His 
plates  are  poor  and  stLfiE,  and  very  inferior  to  those 
of  his  relation. 

AMOROSI,  Antonio,  a  native  of  Comunanza, 
near  Ascoli,  flourished  about  the  }-ear  1700.  Mariette 
says  he  was  bom  in  1660.  He  was  still  living  in 
1736.  He  painted  frescoes  in  Civita  Vecchia,  and 
altar-pieces  for  the  churches  at  Rome,  one  of  which 
is  in  San  Rocco  ;  but  he  is  principally  known  as 
a  painter  of  Bambocdate,  or  fancy  subjects,  in 


PAINTERS  AND  ENGRAVERS. 


which  he  displayed  considerable  talent :  and  Lanzi 
says,  that  if  his  colouring  had  been  a  little  more 
brilliant,  his  pictures  would  be  equal  to  those  of 
the  Flemish  school  of  the  same  kind.  Two  of  his 
works  have  been  engraved  by  William  Walker. 

AMORT,  Kaspar,  who  was  born  in  1612  in  the 
valley  of  the  Jachenau,  went  to  Munich  in  1631, 
and  studied  art  under  Johann  Donauer.  He  then 
paid  a  visit  to  Italy,  where  the  works  of  Cara- 
vaggio  produced  much  effect  on  his  style.  On 
his  return  to  Munich  he  was  made  court  painter, 
and  executed  numerous  works  for  the  decoration 
of  cloisters  and  churches.  He  died  at  Munich  in 
1675. 

AMSLER,  Samuel,  an  eminent  engraver,  was 
born  in  1791,  in  Scliinznach,  in  Switzerland,  and 
became  a  pupil  of  Hess,  at  Munich.  In  1816 
he  arrived  in  Rome,  and  formed  fi'iendships  with 
Overbeck,  Cornelius,  Thorwaldsen,  and  other  heads 
of  the  new  school,  of  which  lie  became  a  member. 
Accuracy  and  character  in  outline,  and  simplicity 
in  execution,  after  the  classical  examples  of  Marc- 
Antonio  and  Albrecht  Diirer,  were  the  principles  he 
followed  in  contradistinction  to  the  picturesque, 
but  in  form  and  expression  negligent,  engrav- 
ings of  the  modem  Italian,  French,  and  English 
schools.  In  this  manner,  in  conjunction  with  his 
friend  Barth,  he  engraved  the  great  frontispiece 
of  the  '  Nibelungen'  of  Cornelius,  and  the  'Triumph 
of  Alexander'  of  Thorwaldsen.  In  1829  Amsler 
became  professor  of  engraving  in  the  Royal  Aca- 
demy in  Munich,  where  Cornelius,  Schnorr,  Hess, 
and  other  of  his  friends  were  already  actively 
engaged.  Besides  different  small  works  which  he 
executed  in  Munich,  he  engraved  Raphael's  '  En- 
tombment of  Christ,'  in  the  Borghese  Gallery  of 
Rome  ;  '  The  Holy  Family,'  and  'The  Madonna  di 
Casa  Tempi,'  by  the  same  master,  both  in  the 
Pinakothek.  His  last  work  was  an  engraving  of 
the  great  painting  of  Overbeck,  in  Frankfort,  'The 
Union  between  Religion  and  the  Fine  Arts,'  the 
completion  of  which  coincides  nearly  with  that  of 
his  life.  He  died  on  the  14th  of  May,  1849.  He 
was  not  only  an  excellent  artist,  and  an  estimable 
man,  kind,  modest,  and  very  good-natured,  but  also 
an  admirable  instructor  of  his  art,  who  taught  a 
number  of  pupils,  now  celebrated  engravers  ;  as 
Merz,  who  engraved  '  The  Last  Judgment,'  of  Cor- 
nelius, and  '  The  Destructionof  Jerusalem, 'of  Kaul- 
bach  ;  Gonzenbach,  the  author  of  different 
engravings  after  Kaulbach,  Schleich,  &c.  /\ 
In  Meyer's  'Kiinstler-Lexikon  '  is  a  full  list  YtiV 
of  Amsler's  works. 

AMSTEL,  CoRNELis  PLODS  vak.    See  Ploos. 

AMSTEL,  Jan  van,  an  artist  who  is  said  to 
have  excelled  in  landscapes,  which  he  enriched 
with  numerous  figures  in  the  style  of  Van  Eyck  ; 
but  when  or  where  he  painted  is  not  recorded. 
Guarienti,  in  his  edition  of  Orlandi,  states  that 
there  was  a  picture  by  this  artist  at  Genoa,  in  the 
possession  of  an  Englishman,  representing  the 
Crucifixion,  and  containing  upwards  of  200  iigures 
admirably  painted.  It  is,  however,  conjectured 
that  some  better  known  painter  is  disguised  under 
this  name. 

AMULIUS  (or  FABHLLns),  a  Roman  painter, 
flourished  in  the  reign  of  Nero.  He  was  employed 
in  the  embellishment  of  the  golden  house  of  that 
emperor,  who  is  said  by  Suetonius  to  have  himself 
studied  the  art  of  painting.  The  palace  became 
a  prey  to  the  flames.  Pliny  represents  him  as  a 
painter  of  common-place  subjects,  "  humilis  rei 


pictor  ;  "  yet  he  mentions  a  picture  of  '  Minerva,' 
which  cannot  be  considered  to  have  been  a  trivial 
work. 

ANCINELLI.     See  Torre. 

ANCONA,  Andrea  d'.    See  Lilio. 

ANCONITONA,  L'.     See  Bonini. 

ANDERLINI,  Domenico,  a  landscape  painter, 
born  at  Pesaro,  flourished  about  1720  :  he  was  an 
artist  of  merit. 

ANDERLONI,  Faustino,  an  engraver,  bom  at 
St.  Eufemia,  near  Brescia,  in  1766,  received  in- 
struction from  two  artists  comparatively  unknown 
— Carloni  and  Benezzi.  He  subsequently  went  to 
Pavia  to  assist  Professor  Scarpa  in  illustrating  his 
great  work  on  the  Anatomy  of  the  Eye.  In  1795 
he  went  to  Milan,  but  in  1801  he  was  appointed 
professor  of  drawing  at  the  University  of  Pavia. 
He  died  in  1847.  He  engraved  the  illustrations  of 
several  scientific  works,  and  the  portraits  of  the 
celebrated  Herder,  Altieri,  Boerhave,  and  Schiller. 
At  a  later  date  he  executed  a  small  but  charming 
engraving  of  the  '  Magdalene  Sleeping  in  the 
Wilderness,'  after  Correggio ;  the  '  Repose  in 
Egypt,'  after  N.  Poussin ;  a  '  Mater  amabilis,' 
after  Sassoferrato,  and  with  Garavaglia  the  '  As- 
cension of  the  Virgin,'  after  the  painting  by  Guido 
Reni  in  the  church  of  Sant'  Ambrogio  in  Genoa ; 
which  he  did  not  complete  until  his  seventy-sixth 
year. 

ANDERLONI,  Pietro,  brother  of  Faustino,  was 
born  in  1784,  at  St.  Eufemia,  near  Brescia,  and 
showed  an  early  predilection  for  art.  He  studied 
the  fundamental  principles  under  P.  Palazzi,  and 
next  received  instruction  from  his  brother  Faus- 
tino, who,  observing  that  he  vacillated  between 
painting  and  engraving,  persuaded  him  to  adopt 
the  latter  art.  After  greatly  profiting  by  his 
brother's  tuition,  he  entered,  at  the  age  of  twenty, 
the  school  of  Longhi,  where  he  remained  for  nine 
years.  Under  that  eminent  master  he  assisted  in 
the  production  of  many  excellent  works,  among 
which  was  '  Ezekiel's  Vision,' after  R;iphael ;  and 
to  some  of  these  the  master  allowed  the  pupil  to 
place  his  name,  in  acknowledgment  of  the  share 
he  had  in  the  execution.  In  1824  he  went  to 
Rome  for  the  second  time,  to  make  drawings  of 
the  'Heliodorus'  and  'Attila'  of  Raphael ;  imd 
in  1831  succeeded  his  master  Longhi  as  president 
of  the  Academy  of  Engravers  in  Milan.  Pietro 
Anderloni  was  a  member  of  several  Academies, 
and  held  a  very  distinguished  rank  among  his 
skilful  contemporaries  in  the  art.  He  died  at 
his  estate  of  Cabiate,  near  Milan,  in  1849.  He  is 
general!}'  very  happy  in  embodying  the  character- 
istics of  the  master  whose  picture  he  transfers  ; 
his  fault  is  sometimes  a  near  approximation  to  the 
modern  French  manner  of  working  too  far  and 
producing  glossiness.  The  following  are  among 
his  principal  works : 

Moses  defending  the  daughters  of  Jethro ;  after  iV. 
Foussin. 

Tlie  Adoration  of  the  Shepherds ;  after  Titian. 

A  Holy  Family,  the  Judgment  of  Solomon,  the  Helio- 
dorus, and  the  Meeting  of  Attila  and  Pope  Leo  III. ; 
after  Raphael. 

St.  John;  after  Luiiii. 

Portraits  of  Canova,  Longhi,  Appiani,  Jenner,  &c. 

ANDERSON,  Alexander,  who  was  born  at 
New  York  in  1775,  was  the  son  of  a  Scotchman, 
and  the  earliest  engraver  on  wood  in  America. 
He  first  studied  medicine — obtaining  in  1796  the 
degree  of  Doctor — but  abandoned  that  profession 

35 


A  BIOGRAPHICAL  DICTIONARY  OF 


in  order  to  devote  himself  entirely  to  engraving. 
Among  his  most  important  are  those  in  Webster's 
'  Spelling  Book,'  Bell's  'Anatomy,'  Josephus's  'His- 
tory,' and  Shakespeare's  Plays,  all  from  original 
designs.  An  engraving  of  the  '  Last  Supper'  (from 
an  English  design),  which  was  made  between  1820 
and  1830,  was  the  last  work  he  produced  on  copper. 
He  afterwards  confined  himself  to  wood  engraving. 
Anderson  worked  on  to  a  very  great  age,  and  died 
in  Jersey  City  in  1870.  His  works  are  in  the 
style  of  English  wood  engraving  of  tlie  earlier 
part  of  the  19th  century.  (For  a  full  account  of 
his  life,  see  'Art  Journal'  for  1858,  p.  271.) 

ANDERSON,  Robert,  born  in  1842,  was  a 
Scottish  engraver  of  some  repute.  In  the  latter 
part  of  his  life  he  devoted  himself  to  painting  in 
water-colour.  He  was  elected  an  Associate  of  the 
Royal  Scottish  Academy  in  1879,  and  died  in 
Edinburgh,  April  24,  1885. 

ANDERSON,  William,  who  was  bom  in  Scot- 
land, in  1767,  was  a  painter  of  marine  subjects, 
chiefly  of  small  dimensions.  His  subjects  are 
treated  in  a  very  pleasing  manner,  with  a  soft 
pencil  and  great  amenity  of  colour.  He  exhibited 
at  the  Royal  Academy  from  1787  to  1814.  He 
died  in  1837. 

ANDEKSSON,  Nils,  a  Swedish  painter,  who  was 
bom  in  East  Gothland,  in  1817,  was  the  son  of 
a  peasant.  After  he  had  received  a  course  of 
instruction  in  Stockholm,  he  travelled  through 
Europe,  and  went  in  1854  to  Paris,  where  he 
stayed  for  two  years,  and  studied  under  Couture. 
On  his  return  to  Stockholm,  he  was  made  a  mem- 
ber of  the  Academy,  and  in  1858  a  professor.  He 
died  at  Vaxholni,  near  Stockholm,  in  1865.  He 
painted  historical  pieces,  pictures  of  genre  subjects, 
and  landscapes  with  animals.  Good  examples  of 
his  work  are  in  the  National  Museum  at  Stockholm. 

ANDERTON,  Henkt,  an  English  painter,  who 
was  born  in  1630,  was  a  scholar  of  Streater,  and 
afterwards  went  to  Italy  for  improvement.  He 
painted  historical  subjects  and  portraits,  but  was 
principally  employed  in  the  latter.  He  acquired 
the  patronage  of  Charles  II.  by  a  portrait  he 
painted  of  Mrs.  Stuart,  afterwards  Duchess  of 
Richmond,  and  almost  rivalled  Sir  Peter  Lelj'.  He 
died  soon  after  the  year  1665. 

ANDKE,  Jean,  (or  Andray),  who  was  born  in 
Paris,  in  1662,  became  a  Dominican  in  1679.  He 
went  to  Rome,  where  he  received  lessons  from 
Carlo  Maratti,  and  studied  the  works  of  Jlichel- 
angelo  and  Raphael.  He  painted  portraits  and 
historical  subjects,  and  has  tlje  character  of  being 
very  correct  in  his  designs,  and  a  good  colourist. 
He  died  at  Paris  in  1753.  Amongst  his  best 
works  may  be  mentioned  the  '  Feast  of  the  Phari- 
see,' in  the  Dominican  Church  at  Lyons  ;  his  own 
Portrait,  in  the  Louvre ;  the  '  Marriage  of  Cana,' 
and  the  '  Miracle  of  the  Loaves,'  at  Bordeaux  ;  and 
the  '  Adoration  of  the  Kings,'  and  numerous  others 
which  he  painted  in  various  churches  in  Paris. 
Andre  imparted  instruction  in  art  to  Taraval, 
Chasle,  and  Dumont. 

ANDKE,  Jules,  who  was  bom  in  Paris  in  1807. 
studied  under  Jolivard  and  Watelet,  and  became 
a  landscape  painter  of  merit.  He  travelled  in 
Belgium,  the  south  of  France,  and  the  Rhine 
country  ;  and  he  was  also  employed  at  the  porce- 
lain manufactory  at  Sevres.  He  died  at  Paris  in 
1869.  The  Galleries  of  the  Luxembourg  and  Lille 
possess  paintings  by  him.  He  executed  several 
decorative  panels  in  the  new  Louvre,   and  in  the 

36 


Hotel  d'Albe.  He  obtained  a  second-class  medal 
in  1835,  and  the  decoration  of  the  Legion  of 
Honour  in  1853.  Andr^  painted  in  a  manner  half- 
way between  the  style  of  the  old  French  classic 
landscape  painters  and  that  of  the  modem  school. 
His  son,  Edmond  Marthe  Alphonse  Andre,  who 
studied  under  him,  and  with  Pils,  became  a  genre 
painter  of  some  repute.  In  1876  he  painted  a 
'  Halt  of  Zouaves  at  Patay.'  He  died  in  Algiers 
in  1877.    , 

ANDRE,  S.  R.  DE  SAINT.     See  Saint-AndrS. 

ANDREA,  Alessandro,  according  to  Heineken, 
flourished  about  the  year  1578,  at  which  time  he 
engraved  the  portrait  of  Gilles  de  Noailles,  Abbe 
de  St.  Amand,  the  French  ambassador  at  the  court 
of  Constantinople. 

ANDREA,  Zoan,  an  engraver  of  the  early  part 
of  the  16th  century,  of  whom  little  is  known,  is 
called  by  Zani,  a  Venetian.     He  executed  a  number 
of  plates  after  Albrecht  Durer  and      ^ 
other  masters.     Meyer  mentions  35    'rj7_A7 
plates  by  him. 

ANDREA  DA  FLORENTIA.  See  Floreniia, 
Andrea  da. 

ANDREA  d'  AGNOLO  is  commonly  known  as 
Andrea  del  Sarto,  from  the  profession  of  his 
father,  who  was  a  tailor.  He  has  till  lately  been 
miscalled  Vannucchi.  Giovanni  Cinelli,  writing  in 
1677,  was  the  first  to  call  him  by  that  name.  The 
mistake  arose  through  the  misreading  of  Andrea's 
monogram  of  two  .4's  for  an  A  and  a  V 
crossed.  It  may  be  here  noted  that  he  is  in  \^ 
no  case  called  Vannucchi  by  a  contemporary.  •''^ 
His  name  was  Andrea  d'  Agnolo  di  Francesco 
di  Luca  di  Paolo  del  Migliore.  He  was  born  at 
Florence  in  1487,  and,  having  shown  an  early  dis- 
position for  drawing,  he  was  placed  with  a  gold- 
smith, to  learn  the  business  of  engraving  on  plate. 
In  this  situation  he  was  noticed  by  Giovanni  Barile, 
an  artist  of  little  note,  who  persuaded  liis  father  to 
entrust  him  to  his  care.  Andrea  remained  under  that 
master  for  three  years,  and  afterwards  entered  the 
school  of  Piero  di  Cosimo,  who  was  a  better  colour- 
ist than  draughtsman,  and  from  him  he  acquired 
the  habit  and  knowledge  of  painting  those  beautiful 
landscape  backgrounds  which  are  seen  in  many  of 
his  works.  Andrea  was,  however,  more  indebted, 
for  the  cultivation  of  his  talents,  to  his  studies  from 
the  frescoes  of  Masaccio  and  Ghirlandaio,  and  after- 
wards from  the  cartoons  of  Leonardo  da  Vinci  and 
Michelangelo,  than  to  the  lessons  of  his  instructors. 
On  leaving  the  school  of  Cosimo,  he  formed  an 
intimacy  with  Franciabigio  (who  had  been  a  dis- 
ciple of  Mariotto  Albertinelli),  and  with  him  he 
lived  for  some  time,  but  "  contemporary  history 
contains  no  reference  to  anything  that  they  did  in 
companionship."  Amongst  his  first  works  are 
frescoes  illustrating  the  history  of  St.  John  the 
Baptist,  in  the  Scalzo,  of  which  the  cartoons  are  pre- 
served in  the  Pal.izzo  Rinnucciui.  The  '  Baptism 
of  Christ'  is  in  his  early  manner,  and  shows  an 
undisguised  imitation  of  Albrecht  Diirer ;  in  the 
'  Visitation  of  the  Virgin,'  painted  a  few  years 
afterwards,  his  advancement  is  conspicuous  ;  and 
in  the  'Nativity  of  St.  John.'  the  last  he  painted 
of  the  series,  he  had  nearly  reached  his  most 
admired  style.  His  next  undertaking  was  the 
'  Life  of  St.  Filippo  Benizzi,'  in  five  pictures,  in 
the  cliurch  of  the  Servi.  In  these  frescoes,  which 
have  been  engraved  by  Alchiari,  the  genius  of 
Andrea  took  a  bolder  flight,  and  they  are  con- 
sidered among  the  most  graceful  of  his  works, 


ANDREA  D'AGNOLO 


ANDREA    DEL  SARTO 


Alinari  photo\ 


ST.  JOHN  BAPTIST 


'\^Filli  Palate,  Florence 


ANDREA  D'AGNOLO 

CALLED 

ANDREA  DEL  SARTO 


,,.  ^,    ,  T  \National  Gallery,  London 

Morelh  photo]  ^ 

ANDREA  DEL  SARTU 


4 


PAINTERS  AND  ENGRAVERS. 


though  they  were  executed  while  he  was  still 
young,  and  it  was  their  excellence  which  gained 
for  hini  the  title,  '  Andrea  senza  Errori'  (Andrea 
without  faults).  The  '  Madonna  del  Sacco,' 
painted  over  the  entrance  door,  is  one  of  his  best 
works.  It  has  received  its  name  from  the  sack  of 
com  upon  which  St.  Joseph  reclines.  This  has 
been  well  engraved  by  Raphael  Morghen. 

About  the  year  1516,  a  '  Dead  Christ,'  painted 
by  Andrea,  came  to  the  notice  of  Francis  I.  of 
France,  who  commissioned  the  artist  to  execute 
for  him  a  'Madonna,'  and  in  1518  Andrea  was 
induced  to  go  to  Paris.  He  was  accompanied 
by  his  pupil,  Andrea  Squazella.  There  he  was 
honoured,  and  royally  treated  by  the  king.  He 
painted  amongst  other  works  a  '  Charity,'  now  in 
the  Louvre,  and  a  '  Pieta,'  now  in  the  Belvedere 
at  Vienna.  In  1519  Andrea  was  induced  by  his 
wife  Lucrezia  del  Fede,  a  beautiful  woman,  whom 
he  had  married  in  1512,  to  ask,  in  order  thct  he 
might  return  to  his  native  country,  leave  of  absence 
from  the  king,  who  granted  his  request,  and  com- 
missioned him  to  purchase  works  of  art  for  him. 
On  his  return  to  Florence,  Andrea  forgot  his 
engagements,  and  broke  through  every  bond  of 
honesty ;  he  had  the  imprudence  to  squander 
away  in  the  society  of  his  friends  and  his  impro- 
vident wife,  not  only  the  liberal  remuneration  he 
had  received  from  Francis  for  his  works,  but  also 
the  funds  which  had  been  confided  to  his  trust  for 
the  acquisition  of  objects  of  art.  He  executed 
numerous  works  in  the  Scalzo  and  elsewhere  in 
Florence.  But  reduced  at  length  to  a  state  of 
indigence  and  distress,  and  stung  with  the  recol- 
lection of  his  perfidy  and  ingratitude,  he  sank  into 
a  despondency,  which  was  increased  by  his  jealousy 
of  his  wife.  He  was  ultimately  abandoned  by  her 
and  the  false  friends  with  whom  he  had  wasted 
his  substance,  when  his  miseries  were  terminated 
in  the  forty-fourth  year  of  liis  age,  by  the  plague 
which  visited  Florence  in  1531.  His  wife  survived 
him,  her  second  husband,  by  forty  years. 

Andrea  del  Sarto  possessed  an  extraordinary 
talent  of  imitating  and  copying  the  works  of 
other  masters,  with  an  accuracy  which  sometimes 
deceived  even  the  painters  themselves.  Of  this, 
Vasari  mentions  a  very  remarkable  instance  of 
which  he  was  himself  an  eye-witness.  Raphael 
nad  painted  for  the  Cardinal  Giulio  de'  Medici, 
afterwards  Clement  VII.,  the  portrait  of  Leo  X., 
seated  between  that  prelate  and  Cardinal  Rossi, 
in  which  the  drapery  and  background  were 
painted  by  Giulio  Romano.  Federigo  II.,  Duke  of 
Mantua,  passing  through  Florence  to  Rome,  had 
seen  this  picture,  and  had  requested  Clement  VII. 
to  make  him  a  present  of  it,  when  the  Pope  gave 
directions  to  Ottaviano  de'  Medici  to  send  the  por- 
trait to  Mantua.  Unwilling  to  deprive  Florence 
of  so  interesting  a  work  of  art,  Ottaviano  employed 
Andrea  del  Sarto  to  paint  an  exact  copy  of  it,  which 
was  sent  to  the  Duke  of  Mantua  at  the  time  when 
Giulio  Romano  was  in  his  service.  No  person 
suspected  the  deception ;  even  Giulio  was  himself 
deceived,  and  was  only  convinced  of  the  fact  by 
Vasari  assuring  him  that  he  had  seen  it  painted, 
and  by  showing  him  the  private  mark  of  Andrea 
del  Sarto.  This  celebrated  painter  has  been  erro- 
neously supposed  to  have  etched  a  plate  of  the 
'  Holy  Family,'  in  which  the  Virgin  is  represented 
kneeling  before  the  Infant  Christ,  with  St.  Joseph 
and  St.  John ;  it  is  inscribed  Andrea  del  Sarto  fatti 
in  Roma;  though  neatly  executed,  it  is  totally  un- 


worthy of  the  hand  of  this  artist,  and  the  inscrij>- 
tion  most  probably  relates  to  the  picture  from 
which  it  was  designed. 

Amongst  Andrea's  pupils  may  be  mentioned 
Vasari,  Jacopo  da  Pontormo,  Domenico  Puligo, 
Giorgio  Vasari,  F.  Salviati,  and  Squazella. 

The  following  is  a  list  of  several  of  his  most 
important  easel-pictures  : 

Berlin.      Museum.    Virgin  and  Saints  (dated  1528). 
Dresden.  Gallery.     Sacrifice  of  Abraham. 

„  „  Marriage  of  St.  Catherine. 

Florence. Z7}^2i.         His  own  Portrait. 
„  „  St.  Giacomo. 

„  „  Madonna  '  di  San  Francesco'  {dated 

1517) — his  tnasterpiece. 
„         Pitti  Pal.  Dispute  on  the  Holy  Trinity. 
„  „       „      Deposition  from  the  Cross. 

,,  ,,       „      Annunciation  {with  theAngel  Gabriel, 

folloioed  by  two  other  angels). 
,,  „       „      Annunciation  (3  cOjO;/ is  tK  Mc  XoMire). 

„  „       „      Assumption  of  the  Virgin. 

„  ,,       „      Portraits  (2)  of  himself. 

,,  „       „      JS'xne  other  paintings. 

London.    Nat.  Gall.  Holy  Family. 

„  „       „      Portrait  of  himself  {signed  with  mono^ 

gram  given  above}, 
Madrid.    Gallery      Virgin  and  Child  with  St.  Joseph  and 
an  angel. 
,,  „  Portrait  of  his  wife.Lucrezia  del  Fede. 

Paris.       Louvre.      Charity  {signed  and  dated  1518). 
„  „  Holy  Family. 

„  „  Jiolj  Va.m\\y  {signed  in  full  with  the 

monogram  of  the  crossed  A). 
Petrshg.JSermitage.  Virgin  and  Infant,  and  St.  Catherine. 
Vienna.     Gallery.  Pieta. 

See— 

Guiness,  H., '  Andrea  del  Sarto.'  London :  1899. 
Heumoat,  A.,'  Andrea  del  Sarto.'  Leipsig:  1835. 
Crowe  and  Cavalcaselle, '  History  of  Painting  in  Italy.' 

London:  1866. 
Biadi,  Buigi,  '  Notizie  inedite  della  vita  d' Andrea  del 

Sarto.'     Firenze:  1832. 
Breton,  Ernest,  'Notice  sur  Andrea    Vannucchi,  dit 

Andrea  del  Sarto.'     Paris :  1848. 
'Gazette  des  Beaux-Arts,' /oi- 1876  and  1877. 

ANDREA  DEL  CASTAGNO.     See  Castagno. 
ANDREA  DI  BERTHOLOTTI.      See  Bertho- 

LOTTI. 

ANDREA  DI  CIONE.     See  Cione. 

ANDREA  Di  COSIMO.     See  Feltrini. 

ANDREA  Di  LEONE.     See  Leone. 

ANDREA  DI  LUIGI.     See  Alovigi. 

ANDREAE,  Tobias,  who  was  born  at  Frankfort 
in  1823,  studied  under  J.  Becker,  and  then  went 
to  Munich,  where  he  made  the  acquaintance  of 
Rahl  and  Genelli.  In  1853  he  visited  Italy,  and 
painted  landscapes,  into  which  he  occasionally 
introduced  moonlight  efEects.  Andreae  died  at 
Munich  in  1873. 

ANDREAE,  T.,  is  mentioned  by  Strutt  as 
the  engraver  of  a  plate  representing  an  emblem- 
atical subject,  in  which  a  woman  is  lying  on 
the  ground,  in  the  front  of  the  print,  and  another 
female  is  standing  over  her,  holding  in  her  hand 
a  book,  inscribed  Giulio  Cesare  opei'a.  It  is 
slightly  etched,  in  a  very  inditt'erent  style,  and  is 
signed  T.  Andreae,  inv.  et  fee. 

ANDRE-BARDON,  Michel  Francois,  ar.  his- 
torical painter  and  etcher,  was  born  at  Aix,  in 
Provence,  in  1700.  He  himself  signed  his  name 
Dandr^-Bardon,  or  D.  Bardon,  because  his  uncle, 
Louis  Bardon,  made  him  his  heir  on  condition  that 
he  continued  the  name  of  Bardon  ;  but  his  real 
name  was  Andr6,  as  the  registers  of  the  church  of 
St.  Madeleine  testify.  Michel  Francois  was  des- 
tined by  his  parents  for  jurisprudence,  and  studied 

37 


49SS4 


A  BIOGRAPHICAL  DICTIONARY  OF 


at  Paris.  In  1719  he  began  to  design  during  his 
leisure  hours  under  the  direction  of  J.  B.  van 
Loo,  and  studied  painting  with  J.  F.  de  Troy. 
His  progress  was  so  rapid,  that  he  obtained,  in 
1725,  the  second  prize  at  the  Royal  Academy.  He 
went  afterwards  to  Rome,  and  after  being  there  six 
years  he  returned  to  France,  through  Venice,  where 
he  stayed  six  months.  He  painted  the  Palais-de- 
Justice,  the  Hotel  -de  -  Ville  (which  perished  in 
1792),  and  the  church  of  St.  Jerome,  at  .Aix.  He 
went  to  Paris,  where  he  displayed  his  talents,  not 
only  as  a  painter  and  etcher,  but  also  as  a  poet 
and  writer.  In  1735  he  became  a  member  of  the 
Academy  ;  in  1752  professor ;  afterwards  secre- 
tary ;  and  finally  teacher  of  historical  painting. 
He  was  also  the  founder  of  the  Academie  des 
Beiiux-Arts  at  Marseilles.  Andre  designed  with 
great  facihty,  and  was  a  perfect  master  in  repre- 
senting the  nude.     He  died  at  Paris  in  1785. 

The  following  are  his  best  works : 
Aix.  Museu/n.  The  Emperor  Augustus  ordering  the 

punishment  of  the  robbers  of  the 
State   money.     (Signed    Dandee- 

BaEDON       AQnSEXTIEXSIS      PIN-XIT 
KOSLE  .ETAT.    SU-E   29   ANNO  1729.) 

.,    Palais-de-Jnstice.  Allegorical  Figures  of  the  Virtues. 
Marseilles.       3Ius.  Christ  on  the  Cross. 
Montpellier.     Mus.  Tullia  driving  over  the  dead  body  of 
Serrius  TuUius. 

The  work  which  he  executed  of  '  Jason  plough- 
ing,' intended  for  the  tapestry  manufactory  at 
Beauvais,  has  disappeared.  The  following  are  his 
most  important  etchings : 

The  Dead  Body  of  Christ. 

Two  Dead  Children  at  the  entrance  of  a  vault. 

The  Burial  of  the  Dead. 

Johannes  Snellinks ;  after  Van  Dijck. 

ANDKEANI,  Andrea,  a  painter,  and  very  cele- 
brated engraver,  was  born  at  Mantua,  according  to 
some  biographers,  about  the  year  1540,  others  say 
1546  ;  but  Brulliot  saj's  his  birth  did  not  take  place 
until  1560,  which  seems  the  more  likely,  for  his 
earliest  work  bears  date  1584.  His  works  as  a 
painter  are  little  known,  as  he  appears  to  have 
devoted  himself  to  engra\'ing  at  an  early  period  of 
his  life,  when  he  settled  at  Rome,  some  time  after 
the  art  of  chiaroscuro  on  wood  had  been  first 
practised  in  Italy  by  Ugo  da  Carpi.  His  works 
are  confined  to  woodcuts,  which  are  printed  in 
chiaroscuro,  and  he  carried  that  branch  of  engrav- 
ing to  a  much  higher  degree  of  perfection  than  it 
had  reached  before.  His  drawing  is  correct,  his 
execution  is  strong  and  spirited,  and  in  a  very 
masterly  style.  The  number  of  prints  attributed 
to  this  master  is  very  considerable,  as  he  is 
reported  to  have  procured  the  blocks  executed  by 
other  artists,  and  after  retouching  them,  to  have 
published  them  as  his  own.  He  died  in  1623.  His 
works  have  frequently  been  confounded  — _— 
with  those  of  Albrecht  Altdorfer,  from  his  WT 
having  used  a  similar  cipher.  ■^  "" 

The  following  is  a  list  of  his  known  works,  all 
copies  from  his  contemporaries  or  painters  then 
lately  deceased  : 

The  pavement  at  Siena,  two  immense  prints ;  after  the 
design  of  Bomenico  Beccafumi  ;  very  scarce  :  dated 
1587. 

The  Deluge,  large  print,  in  four  sheets ;  after  Titian, 
with  his  cipher. 

Pharaoh's  Host  destroyed  in  the  Red  Sea,  large  print, 
in  four  sheets  ;  after  the  same,  1585,  with  his  cipher. 

The  Adoration  of  the  Magi ;  after  Parmigiano,  1585, 
with  his  cipher. 

The  Purification;  after  Salviati,  with  his  cipher.  1608. 
38 


The  Virgin  and  Child,  with  a  bishop  kneeling ;  after  A. 

Casolaiii,  with  his  cipher.     1591. 
The  Virgin  and  Child,  with  St.  John  presenting  a  bird, 

and  a  female  saint  holding  a  lily ;  after  Giac.  Ligozzi, 

with  his  name. 
Christ  curing  the  Leper;   after  Parmigiam,  with  his 

cipher. 
Christ  curing  the  Paralytic ;  after  Franc,  de  Kauto  da 

Sttbaudia. 
The  Miraculous  Draught  of   Fishes  ;   after  Raphael, 

1609,  with  his  cipher. 
Christ  departing  from  Pilate,  who  is  washing  his  hands  ; 

after  a  basso-rilieio  of  Jean  Boulogne,  with  the  name 

of  the  engraver ;  in  two  sheets.    This  is  one  of  his 

most  finished  prints. 
Christ  bearing  His  Cross ;  after  A.  Casolani,  with  his 

cipher.     1591. 
The  Entombment  of  Christ ;  after  G.  Scolari,  with  his 

cipher. 
Another    Entombment,   half    figures ;    after  RaffaelU) 

Motta,  with  the  name  of  the  engraver. 
St.  Peter  preaching;  marked  with  the  name  Polidoro, 

and  his  cipher.     1608. 
St.  Sebastian ;   marked  Fridericus  Barotiua   Urbinaa, 

with  his  cipher.     1608. 
The   lower  part  of  the  picture  of  St.   Nicholas,   by 

Titian,  with  the  cipher  of  Andreani. 
The  Triumph  of  the  Church ;  Christi  Triumphus,  large 

frieze,  in  eight  sheets  ;  after  Titian,  dedicated  to  the 

Duke  of  Mantua  in  1599,  and  published  by  CaUsto 

Ferrante  at  Eome  in  1608. 
An  emblematical  print,  of  a  Christian  after  life  received 

into  Heaven,  and  crowned  by  Jesus  Christ ;  marked 

B.  F.  for  Baptista  Franco,  and  the  cipher  of  the 

engraver.    An.  m.dc.x.  Mantoua. 
The  Picture  of  Human  Life,  represented  by  a  woman 

at  the  foot  of  a  rock,  assailed  by  the  passions ;  marked 

Jai^.  Ligotius,  inv.  et  Andreani,  1585.     Firenze. 
Three  prints,  after  a  marble  group  by  Gio.  da  Bologna, 

seen  on  three  sides,  representing  the  Eape  of   the 

Sabines ;  inscribed  Rapta  Sabiiium  a  Jo.  Bolog.  marm 

SfC.    M.DXxxxiin. 
Another  Eape  of  the  Sabines :  after  Jean  Boulogne,  in 

three  sheets ;  inscribed  Andreas  Andreanus  Mantua- 

ni/s  aeri  incidit,  ^-c,  m.d.lxxxv.    Florenti{e. 
Clelia  on  horseback,  with  one  of  her  attendants,  going 

to  cross  the  Tiber  ;  marked  with  the  name  of  Matu- 

rino,  and  his  cipher.     1608. 
Mucins    Scaevola  holding  his  hand    over    a    brazier ; 
marked  with  the  name  of   Bald.  Peruxzi,  and   his 
cipher.    1608. 
The  Triumph  of  Julius  Caesar,  with  the  title ;  a  series 
of    10  prints ;    very    fine ;    after    And.    Mantegna. 

M.D.XCVIII. 

Venus  and  Cupid,  with  nymphs  bathing ;  after  Parmi- 
giano,  with  the  cipher  of  Andreani.    1605. 

Circe  giving  drink  to  the  companions  of  Ulysses ;  oval 
print ;  after  Parmigiano,  with  his  name.     1602. 

A  Woman  warming  herself  before  the  fire ;  marked 
Bernard  Malpitius,  inv.,  vrith  his  cipher. 

The  scene  of  a  comedy  represented  before  the  Grand 
Duke  Cosmo  X. ;  after  a  design  of  Bart.  Neroni,  large 
piece.     1579. 

The  Triumph  of  Death,  a  Sepulchral  Monument,  repre- 
senting a  kind  of  rock,  on  which  are  the  three  Fates  ; 
after  Fortuna  Fortiinio,  with  the  cipher  of  the  en- 
graver 

Christian  Virtues,  sis  pieces ;  also  Force,  Truth,  and 
Virtue ;  all  after  Parmigiano. 

W.  B.  S. 

ANDREASI,  Ippolito,  who  was  born  at  Man- 
tua in  1548,  was  an  imitator  of  Giulio  Romano  : 
he  painted  pictures  of  merit  for  the  churches  of 
his  native  town,  where  he  died  in  1608.  The 
Louvre  possesses  a  '  Holy  Family '  by  him. 

ANDRES,  Fray  Leon  de,  a  Spanish  painter  of 
the  16th  century,  is  celebrated  for  the  miniatures 
he  executed  in  1568  for  choir-books — especially 
that  of  '  El  Capitulario ' — now  in  the  Escorial. 
He  died  in  1580. 

ANDREWS,  George  Henry,  was  born  at 
Lambeth  in  1816.     Though  an  engineer  by  pro- 


PAINTERS  AND  ENGRAVERS. 


fession  he  devoted  most  of  his  time  to  painting, 
and  exhibited  first  in  1840.  He  painted  chiefly 
marine  subjects  in  water-colour,  and  became 
successively  Associate,  Exhibitor,  Member  and 
Treasurer  of  the  Royal  Water-Colour  Society.  He 
drew  for  the  'Illustrated  London  News' and  the 
'  Graphic,'  and  died  at  Hammersmith  in  1898. 

ANDRIESSEN,  Anthonie,   who  was   born   at 
Amsterdam  in  1746,  painted,  in  conjunction  \vith 
his   brother   Jurriaan,    under   whom     he       /V\ 
studied,    landscapes     and    figure-pieces.    _/j\\_ 
He  died  at  Amsterdam  in  1813. 

ANDRIESSEN,  Christiaan,  who  was  born  at 
Amsterdam  in  1775,  was  the  son  and  scholar  of 
Jurriaan,  and  became  a  good  painter  of  history, 
genre  subjects,  landscapes,  views  of  towns,  and 
occasionally  portraits.  Among  his  works  may  be 
mentioned  a  Panorama  of  Amsterdam. 

ANDRIESSEN,  Hendkick,  who  was  surnamed 
'Mancken  Heijn'  (The  Limper),  was  born  at 
Antwerp,  probably  in  the  year  1607.  He  was  a 
painter  of  still-life ;  composed  with  great  skill, 
and  finished  his  pictures  artistically.  He  died  in 
Seeland  in  1655. 

ANDRIESSEN,  Jurriaan,  born  at  Amsterdam 
in  1742,  was  a  scholar  of  A.  EUiger  and  J.  M. 
Quinkhardt.  He  was  an  able  artist  in  decorative 
painting  ;  the  decorations  of  the  new  theatre  at 
Amsterdam  were  executed  by  him  and  Numan. 
Several  distinguished  modern  Dutch  painters  are 
from  his  school.      He  died  at  Amsterdam  in  1819. 

ANDRIOLI,  GiROLAMO,  a  pupil  of  Brusasorci, 
was  a  painter  of  Verona.  His  name,  with  the  date 
1606,  was  inscribed  on  an  altar-piece  of  'St.  Dome- 
nick  and  other  Saints '  formerly  in  the  church  of 
Santa  Caterina  di  Siena  at  Verona. 

ANDRIOT,  FRANgois,  a  French  engraver,  who 
was  born  in  Pnris  about  1655,  practised  both  in 
France  and  in  Italy,  especially  in  Rome.  He  fol- 
lowed the  style  of  F.  de  Poilly,  and  among  his 
works  are : 

Two  Annuuciations,  after  Alhano  ;  a  Magdalene,  ff/^CT- 
Guido  ;  Madonna  and  Child,  after  Guido ;  The  Holy 
Family,  with  a  rose,  after  Raphael;  The  Crowning 
with  Thorns,  after  Domenichino ;  and  the  same,  after 
Ann.  Carracci ;  The  Good  Samaritan,  after  I'ovssin; 
and  other  subjects  of  sacred  history,  after  Guille- 
baultj  and  other  masters. 

ANDRODET-DUCERCEAU,  Jacques,  was  an 
architect  and  engraver  of  whom  but  scanty  records 
have  survived.  His  parents'  name  was  Androuet, 
but  they  acquired  the  affix  ' dw  Cerceau'  from  a 
hoop  which  they  hung  on  their  house  as  a  dis- 
tinguishing mark,  and  the  double  name  was  adopted 
by  their  son.  Jacques  was  born  about  1510,  pro- 
bably at  Paris,  but  it  was  at  Orleans,  the  home  of 
his  family,  that  he  spent  the  greater  part  of  his 
life ;  and  most  of  his  works  bear  the  date  of  that 
city.  He  is  said  to  have  studied  under  Etienne 
Delaulne  ;  but  the  strong  resemblance  of  his  style 
to  that  of  Leonhard  Thiry,  another  artist  of  Fon- 
tainebleau,  has  led  to  the  belief  that  he  formed  his 
manner  from  the  artists  of  that  school.  He  visited 
Italy  with  George  d'Armagnac,  ambassador  of 
Francis  I.  to  the  Venetian  Court,  and  on  his  return 
in  1546-47  he  was  patronized  by  the  royalty  and 
nobility  of  France.  It  is  supposed  that  he  retired 
to  Annency,  or  Geneva,  towards  the  close  of  his  life, 
and  died  there — after  1584.  As  an  engraver  his 
subjects  were  various  —  mythological,  architect- 
ural, perspective,  trophies,  arabesques,  friezes. 
Caryatides,  vases,  furniture,  &c. :  we  mention  : 


The  Marriage  of  the  Virgin  ;  after  Parmigiano  (Fran- 
ciscHS  Parmensis  hiventor). 

The  Birth  of  Christ ;  unsigned. 

The  Gods  of  Heathen  Mythology;  aftir  Rosso;  20 
plates. 

The  Loves  of  the  Gods;  after  Perino  del  Vaga  and 
Rosso  ;  20  plates. 

The  Labours  of  Hercules  ;  after  Rosso  ;  6  plates. 

The  Life  of  Psyche  ;  after  Raphael ;  32  plates. 

The  Dog  of  Montargis  fighting  his  Master's  Murderer 
{faict  d  Montargis). 

Plans  of  Antwerp,  Jerusalem,  Rome,  &c. 

Landscapes,  24  plates. 

'  Le  Premier  Volume  des  plus  Excellents  Bastiments 
de  France.'     Paris,  m.d.lxxvi. 

'  Le  Second  Volume  des  plus  Excellents  Bastiments  de 
France.'  Paris,  m.d.lxxix.  Both  volumes  are  dedi- 
cated to  Catherine  de  Medicis,  for  whom  they  were 
executed. 

ANEDA,  Juan  de,  was  bom  at  Burgos,  where 
he  painted  in  1565,  in  conjunction  with  Juan  de 
Cea,  several  pictures,  which  are  still  to  be  seen  in 
the  cathedral. 

ANESI,  Paolo,  landscape  painter  and  etcher, 
was  born  at  Rome  about  the  year  1700.  He 
painted  landscapes  with  considerable  success  at 
Florence  and  at  Rome.  The  frescoes  in  the  Villa 
Albani,  near  Rome,  are  done  by  him,  in  conjunc- 
tion with  Antonio  Bicchierai  and  Niccold  Lapic- 
cola.  They  bear  the  date  1761,  with  the  signature 
Paolo  Anesi  fece.  He  was,  Lanzi  tells  us,  one  of 
the  masters  of  Francesco  Zuccarelli.  He  painted 
ancient  ruins  in  the  manner  of  Pannini,  and  his 
works  have  been  much  confused  with  those  of  that 
artist.  FcLr  small  landscapes,  by  Anesi,  are  in  the 
Hohenzollern-Hechingen  Gallery  at  Lowenberg. 

ANGARANO,  Conte  Ottavio.  According  to 
Zanetti,  this  artist  was  of  a  patrician  family  of 
Padua,  aTid  flourished  at  Venice  in  the  second  half 
of  the  17th  century.  It  is  not  mentioned  by  whom 
he  was  instructed  in  the  art,  but  he  was  a  reput- 
able painter  of  history,  and  acquired  considerable 
celebrity  by  a  picture  he  painted  for  the  church  of 
San  Daniele,  at  Venice,  representing  the  'Nativity,' 
which  is  highly  commended  by  his  biographer,  and 
of  which  there  is  an  etching,  as  some  say,  by  liim- 
self  ;  but  Bartsch  ascribes  it  to  Giuseppe  Diaman- 
tini.  Angarano  painted  in  the  manner  of  the 
followers  of  Caravaggio. 

ANGE,  FKANgois  l'.     See  L'Ange. 

ANGEL,  J.  X.    See  Ximenez  Angel. 

ANGEL,  Pedro  (or  Angelo),  the  first  of  Spain's 
good  engravers,  flourished  at  'Toledo  at  the  end  of 
the  16th  and  beginning  of  the  17th  century.  The 
frontispiece  to  the  '  History  of  Our  Lady  of  Gua- 
daloupe,'  containing  the  portrait  of  that  ungainly 
idol,  published  in  1597,  is  one  of  his  earliest  works. 
The  elegant  armorial  design  in  the  title,  and  the 
fine  portrait  of  Cardinal  Tavera  in  '  Salazar's 
Chronicle,'  published  1603  ;  and  the  still  finer  and 
rarer  portrait  of  Cardinal  Ximenez  de  Cisneros  in 
Eugenio  de  Noble's  'Life,'  published  1604,  are 
by  Angelo.  He  likewise  engraved  a  title-page 
for  Luis  de  Tena's  '  Commentary  on  St.  Paul's 
Epistle  to  the  Hebrews,'  1611-17  ;  a  print  of 
'  Our  Lady  of  the  Conception,'  and  other  devo- 
tional subjects. 

ANGEL,  Philips,  who  was  born  at  Middelburg, 
in  the  early  part  of  the  17th  century,  painted  at 
Haarlem  (where  he  entered  the  Guild  in  1639),  at 
Leyden,  and  afterwards  in  Ispahan,  and  in  Batavia, 
where  he  probably  died — after  1665.  His  only 
known  work  —  a  picture  of  still-life,  signed  P. 
Angel,  1650 — is  in  the  Berlin  Museum.     If  this 

39 


A  BIOGRAPHICAL  DICTIONARY  OF 


date  is  correct  it  must  have  been  painted  while  he 
was  in  the  East. 

ANGELI,  Battista.     See  Angolo. 

ANGELI,  Finppo  de  Liano  d',  was  called  II 
Napoletano,  from  his  being  sent  to  Naples  when 
he  was  very  young.  He  was  bom  at  Rome 
towards  the  end  of  the  16th  century,  and  was  tlie 
son  of  an  artist  who  was  employed  under  Sixtus 
V.  He  excelled  in  painting  landscapes  and  battles, 
and,  according  to  Baglioni,  was  much  employed  in 
ornamenting  the  palaces  and  villas  at  Rome.  He 
frequently  painted  architectural  views,  with  a 
number  of  figures  arranged  and  composed  with 
great  ingenuity.  He  died  at  Rome  during  the 
pontificate  of  "Urban  VIII.,  about  1640.  The 
Louvre  has  a  '  Satyr  and  Peasant '  by  him,  and 
his  own  portrait  is  in  the  Uffizi  at  Florence. 

ANGELI,  GiuLio.    See  Angolo. 

ANGELI,  GiULio  Cesare,  bom  at  Perugia  about 
1570,  studied  in  the  school  of  the  Carracci,  at 
Bologna.  He  was  more  remarkable  for  his  colour 
than  design,  and  excelled  rather  in  the  draped 
than  the  naked  figure.  There  is  a  vast  work  by 
him  in  the  oratory  of  Sant'  Agostino  in  Perugia, 
where  he  died  in  1630. 

ANGELI,  Giuseppe,  a  Venetian  painter,  scholar 
of  Piazzetta,  whose  style  he  imitated,  was  born 
about  1709.  He  painted  cabinet  pictures,  and 
some  altar-pieces.  His  heads  have  considerable  ex- 
pression, and  his  extremities  are  well  drawn.  The 
painting  in  the  cupola  of  San  Rocco  at  Venice  is 
one  of  his  best  works.  He  executed  numerous 
decorations  in  the  churches  and  pubHc  buildings  of 
Padua  and  Rovigo,  as  well  as  of  Venice.  He  died 
at  Venice  in  1798.  In  the  Louvre  there  is  a 
'  Little  Drummer '  by  him. 

ANGELI,  Marco.    See  Angolo. 

ANGELI,  Niccol6,  an  Italian  engraver,  flour- 
ished about  the  year  1635.  He  was  a  disciple 
of  Remigio  Canta-Gallina,  and,  in  conjunction  with 
his  instructor,  engraved,  from  the  designs  of 
Giulio  Parigi,  a  set  of  plates  representing  the 
festivals  which  took  place  at  Florence  on  the 
occasion  of  the  marriage  of  the  Prince  of 
Tuscany. 

ANGELICA,  a  miniature  painter  of  Tarragona, 
executed,  in  1636,  the  illuminations  of  the  cathe- 
dral choir-books  with  great  neatness  and  skill. 

ANGELICO,  Fra  (Giovanni  da  Fiesole).    See 

FlESOLE. 

ANQELINI,  SciPioxE,  who  was  born  at  Perugia 
in  1661,  was  a  skilful  painter  of  flowers  ;  in  his 
pictures  they  appear  newly  plucked,  and  sparkling 
with  dewdrops.  He  painted  a  great  number, 
which  he  sold  to  dealers,  who  exported  them  to 
England,  France,  and  Holland.  He  practised  at 
Rome  ;  and  died  at  Perugia  in  1729. 

ANGELIS,  Pierre.     See  Angillis. 

ANGELL,  Helen  Cordelia,  nt'e  Coleman,  was 
born  in  1847,  and  early  distinguished  herself 
as  a  brilliant  and  original  painter  of  flowers 
and  kindred  subjects,  which  she  was  among  the 
first  of  modern  English  painters  to  treat  with 
breadth  and  vigour.  She  first  exhibited  at  the 
Dudley  Gallery  in  1866.  She  became  a  member 
of  the  Institute  of  Painters  in  Water-Colours,  but 
seceded  in  1879,  on  being  elected  an  associate 
exhibitor  of  the  Suciety  of  Painters  in  Water- 
Colours,  of  which  she  afterwards  became  a  member. 
She  married,  in  1875,  Mr.  W.  T.  Angell,  and  died 
March  8,  1884.  Her  last  picture  was  exhibited 
at  the  Dudley  Gallery  in  the  winter  of  1889. 
40 


ANGELO,  Michael.    See  Buonabroti. 

ANGELO,  Pedro.     See  Angel. 

ANGELO  DEL  MORO.     See  Angolo  del  Moro. 

ANGELDCCIO,  a  scholar  of  Claude  Lorrain, 
was  living  in  1680,  but  died  young.  He  is  men- 
tioned as  an  artist  of  considerable  talent ;  bis 
works  are  perhaps  sometimes  mistaken  for  his 
master's. 

ANGIER,  Paul,  an  engraver,  of  whom  little 
more  is  known  than  that  he  resided  in  London 
about  the  year  1749,  and  that  he  was  instructed  in 
the  art  by  John  Tinney.  He  was  chiefly  em- 
ployed in  engraving  for  the  booksellers,  and 
executed  several  small  plates,  principally  land- 
scapes, in  a  neat  style,  but  without  much  taste. 
His  best  print  is  a  '  View  of  Tivoli,'  after  Mouche- 
ron.  There  is  a  print,  dated  1749,  by  him,  of  a 
view  of  Roman  ruins,  after  Pannini,  very  neatly 
engraved. 

ANGILLIS,  Pierre,  (wrongly  called  Angelis), 
was  bom  at  Dunkirk,  in  1685.  After  learning  the 
rudiments  of  design  in  his  native  town,  he  visited 
Flanders,  and  resided  some  time  at  Antwerp,  where 
he  was  made  a  master  of  the  Guild  of  St.  Luke 
in  1715-16.  He  painted  landscapes  with  small 
figures,  into  which  he  was  fond  of  introducing 
fruit  and  fish.  He  came  to  England  about  1719, 
remaining  till  1727,  when  he  set  out  for  Italy. 
On  his  return  he  settled  at  Rennes,  where  he  died 
in  1734.  His  style  was  a  mixture  of  those  of 
Teniers  and  Watteau,  with  more  grace  than  the 
former,  and  more  nature  than  the  latter. 

ANGIOLILLO,  called  Roccadirame,  was  a 
Neapolitan,  and  flourished  about  the  year  1450. 
He  was  a  disciple  of  Antonio  Solario,  called  II 
Zingaro,  and,  according  to  Dominici,  painted 
several  pictures  for  the  churches  at  Naples.  One 
of  his  most  esteemed  works  was  a  picture  in  the 
church  of  San  Lorenzo,  representing  the  '  Virgin 
and  Infant  Jesus,  with  St.  Francis,  St.  Anthony  of 
Padua,  and  St.  Louis.'  He  died  about  the  year 
1458. 

ANGLUS,  Benjamin.  This  artist  is  mentioned 
by  Heineken  as  the  engraver  of  two  emblem- 
atical subjects,  one  after  Antonio  Tempesta  ;  the 
other  is  probably  from  his  own  design,  as  he  adds 
the  word  fecit  to  his  name. 

ANGOLO  del  MORO,  Battista,  (commonly 
called  Angeli,  and  occasionally  Angelo  and 
Agnolo),  was  born  at  Verona,  about  the  year 
1512.  He  was  a  .scholar  of  Francesco  Torbido, 
called  II  Moro,  whose  daughter  he  married,  and 
whose  name  he  added  to  his  own.  He  improved 
his  style  by  studying  the  works  of  Titian,  and 
painted  several  pictures,  both  in  oil  and  fresco,  for 
the  churches  at  Verona,  and  sometimes  in  compe- 
tition with  Paolo  Veronese.  In  Sant'  Euphemia  he 
had  painted  a  fresco  of  '  Paul  before  Ananias,' 
which,  on  the  demolition  of  the  wall  on  which 
it  was  painted,  was  sawn  out  with  great  care, 
and  removed  to  another  part  of  the  church.  His 
colouring  is  more  vigorous  than  that  of  his  in- 
structor, and  his  design  more  graceful.  Such  is 
his  picture  in  San  Stefano  of  '  An  Angel  pre- 
senting the  Palms  of  Martyrdom  to  the  Inno- 
cents.' He  also  painted  much  in  Venice,  Mantua, 
and  Murano.  We  have  several  slight  but  spirited 
etchings  by  this  master,  in  which  the  extremities 
of  the  figures  are  drawn  in  a  very  masterly  style. 
In  conjunction  with  Battista  Vicentino,  he  en- 
graved a  set  of  fifty  landscapes,  mostly  after 
Titian,  which  are  executed  in  a  bold,  free  style. 


PAINTERS  AND  ENGRAVERS. 


We  have  also  the  following  plates  as  specimens  of 
his  work  in  this  line : 

The  Nativity,  or  Adoration  of   the  Shepherds;  after 

Parmigiayw. 
The  Virgin,  with  the  Infant  Christ  and  St.  John  ;  B.  A. 

del  Mora,  fee. 
The  Holy  Family,  with  St.  Elisabeth  and  St.  John; 

after  Raphael. 
Another  Holy  Family ;  after  the  same. 
The  Martyrdom  of  St.   Catherine;    after  Bernardini 

Campi. 
The  Baptism  of  Christ  by  St.  John ;  after  the  same. 

ANGOLO  DEL  MORO,  Giulio,  (commonly  called 
Angeli),  the  brother  of  Battista,  was  a  sculptor, 
architect,  and  painter.  He  was  a  native  of  Verona, 
but  laboured  chiefly  at  Venice,  and  in  the  churches 
and  the  Doge's  Palace  of  that  city  he  has  left 
several  pictures.  He  flourished  in  the  16th  cen- 
tury and  the  beginning  of  the  17th.  There  is  no 
record  of  him  later  than  1618.  There  was  a  third 
brother,  Girolamo,  who  was  also  a  painter,  but  of 
no  great  merit. 

ANGOLO  DEL  MORO,  Marco,  (commonly  called 
Angeli),  the  son  and  pupil  and  assistant  of  Bat- 
tista, flourished  in  the  latter  half  of  the  16th 
century  at  Venice  and  Verona.  He  assisted  liis 
father  in  his  wall  decorations  at  Murano.  He 
also  practised  the  art  of  engraving  with  consider- 
able success. 

ANGUISCIOLA,  SoFONiSBA,(or  Angosciola,  also 
written  Anguisola,  Angussola,  and  Anguscinola). 
This  celebrated  painter,  the  eldest  of  six  sisters, 
was  born  of  an  ancient  family  at  Cremona,  about 
1535.  She  received  her  first  instruction  in  the 
art  from  Bernardino  Campi,  to  whom  she  went  in 
1546,  but  afterwards  became  a  scholar  of  Bernardo 
Gatti,  called  Sojaro.  After  leaving  those  masters, 
her  first  efEort  in  art  was  an  effusion  of  filial 
affection,  expressed  in  a  portrait  of  her  father  and 
two  of  his  children.  This  performance  was  uni- 
versally admired,  and  she  was  soon  considered  as 
one  of  the  most  eminent  portrait  painters  of  her 
time.  She  did  not,  however,  confine  herself  to 
portraits,  but  painted  some  historical  subjects  of 
a  small  size,  that  were  highly  esteemed,  and 
established  her  reputation.  The  fame  of  this 
painter  induced  Philip  II.  of  Spain,  the  great 
encourager  of  art  in  his  time,  to  invite  her  to 
Madrid,  where  she  arrived  about  the  year  1560, 
attended  by  three  of  her  sisters.  One  of  her  first 
works  in  Spain  was  a  portrait  of  the  Queen  Isa- 
bella, which  was  presented  by  the  king  to  Pope 
Pius  IV.,  to  whom  she  was  nearly  related,  accom- 
panied by  a  letter  addressed  to  his  Holiness  by 
Sofonisba,  to  which  that  pontiff  replied  in  an 
epistle,  highly  extolling  her  performance,  and 
assuring  her  that  he  had  placed  it  amongst  his 
most  select  pictures.  She  was  married  twice :  first 
to  Don  Fabricio  di  Moncada,  a  Sicilian  nobleman, 
after  whose  death  she  returned  to  her  own  country 
by  way  of  Genoa.  There  she  married  as  her 
second  husband  Orazio  Lomellini,  the  captain  of 
the  galley  in  which  she  made  the  voyage.  Her 
portrait  at  the  age  of  ninety-six,  together  with  a 
long  account  of  her,  is  to  be  seen  in  the  Van  Dyck 
Sketchbook  at  Chatsworth,  and  is  reproduced  in 
the  facsimile  of  this  Sketchbook  issued  in  1901  by 
George  Bell  and  Sons,  London,  Plate  XXXVIII.  It 
was  drawn  by  Van  Dyck  on  July  12,  1624,  when 
the  artist  was  at  Palermo,  and  he  states  in  the  in- 
scription that  when  "  I  was  making  her  portrait 
she  gave  me  many  hints,  such  as  not  to  take  the 


light  from  too  high,  lest  the  shadows  in  the  wrinkles 
of  old  age  should  become  too  strong,  and  many 
other  good  sayings  by  which  I  knew  that  she  was 
a  painter  by  nature  and  wonderful,  and  the  greatest 
trouble  she  had  was  that  from  lack  of  sight  she 
could  paint  no  longer,  though  her  hand  was  firm 
without  tremor  of  any  sort."  She  died  in  Palermo 
soon  after  the  visit  of  Van  Dyck,  in  1626.  A 
drawing  has  been  discovered  lately  at  Palermo 
which  closely  resembles  the  sketch  at  Chatsworth, 
and  is  attributed  to  Van  Dyck  with  some  definite 
assurance.  The  following  may  be  noted  among 
the  most  important  of  her  paintings  : 

Portrait  of  herself,  seated  at  a  clavecin  {signed).    In  a 

private  collection  in  Bologna. 
Portrait  of    herself  (similar  to  the   Bologna  picture). 

In  the  possession  of  Lord  Spencer  at  A  Ithorpe. 
Portrait  of  herself.     At  Nuneham  Park. 
Portrait  of  herself  painting  a  picture  (signed).    In  the 

UJJi^i,  Florence. 
Portrait  of  herself  holding  a  book  (signed  and  dated 

1554).     In  the  Gallery ^  Vienna. 
Three  of  her  sisters  playing  chess  (formerly  tn  the 

collection  of  Lucien  Buonaparte  ;  one  of  her  best  works). 

In  the  possession  of  Count  Raczynski  at  Berlin. 
Portrait  of  a  mm  (signed).    In  the  possession  of  the 

Earl  of  Yarborough. 
Portrait  of  a  man.     At  Burleigh  House. 
Portrait  of  a  Venetian  Ambassador  (signed^.     In  the 

Brignoli  Gallery  at  Brescia. 
Madonna  and  child    (dated  1559),      In  the  Bresciani 

Collection  at  Cremona. 

ANGUISCIOLA.  All  the  five  sisters  of  Sofo- 
nisba painted  with  more  or  less  success.  Elena, 
the  next  in  age  to  Sofonisba,  after  having  studied 
with  her  under  Campi  and  Gatti,  entered  the  con- 
vent of  San  Vincenzo,  at  Mantua,  where  she  was 
still  living  in  1584.  Lucia,  the  tliird  in  age,  who 
died  in  1565,  distinguished  herself  both  in  painting 
and  music  ;  a  portrait  of  the  phj'sician  'Pietro  Maria 
of  Cremona '  by  her,  signed  '  Lucia  Anguisola, 
Amilcaris  filia,  adolescens,  fecit,'  is  in  the  Madrid 
Gallery.  Minerva  died  young.  Europa  and  Anna 
Maria  painted  subjects  from  sacred  history  for 
churches. 

ANGUS,  William,  an  English  designer  and  en- 
graver of  landscapes  and  buildings,  was  bom  in 
1752.  He  was  a  pupil  of  William  Walker.  He 
engraved  and  published  a  great  number  of  views 
of  gentlemen's  seats  in  England  and  Wales,  which 
were  executed  by  him  in  a  delicate  and  pleasing 
manner.  He  was  also  employed  on  many  other 
topographical  publications  of  the  period.  He  did 
not  confine  his  graver  to  his  own  drawings,  but 
exercised  it  on  those  of  Stotliard,  Paul  Sandby, 
Edward  Dayes,  George  Samuel,  and  others  of  high 
repute.     He  died  in  1821. 

ANICHINI,  Pietro,  a  Florentine  engraver,  of 
whose  life  we  have  no  particulars.  He  is  said  by 
Basan  to  have  been  born  in  1610 ;  he  died  in  1645. 
Among  other  plates  engraved  by  him,  we  have 
the  following  : 

A  Holy  Family  ;  small  plate,  lengthways ;  dated  1644. 

The  Good  Samaritan  ;  small,  lengthways. 

Cosmo  Prince  of  Etruria. 

Evangelista  Torricelli,  the  mathematician. 

ANIELLO.     See  Portio. 

ANIEMOLO,  Vincenzo,  (or  Ainemolo_),  called 
Vincenzo  Romano,  was  born  at  Palermo  towards 
the  end  of  the  15th  century.  After  having 
studied  for  some  time  in  his  native  town  the 
works  of  Perugino  and  other  masters,  he  went  to 

41 


A  BIOGBAPHICAL  DICTIONARY  OF 


Rome,  where,  if  he  did  not  receive  personal  in- 
struction from  Raphael,  the  works  of  that  master 
had  a  great  effect  on  his  style.  Aniemolo  left 
Rome  at  the  time  of  its  pillage  and  went  to 
Messina ;  thence  he  returned  to  Palermo,  where 
he  lived  until  his  death,  which  occurred  in  1540. 
He  has  left  in  the  churches  of  his  native  town 
many  pictures  of  merit.  Of  these  we  may  mention 
the  'Virgin  and  Child  between  four  Saints,'  in  San 
Pietro  Martire :  the  '  Virgin  of  the  Rosary,'  dated 
1540,  in  San  Domenico ;  and  the  '  Sposalizio,'  in 
Santa  Maria  degli  Angeli.  All  bear  strong  traces 
of  the  influence  of  Raphael. 

ANISUIOFF  was  a  Russian  genre  painter,  who 
obtained  a  reputation  in  the  course  of  the  first 
ten  years  of  the  19th  century  by  the  execution  of 
a  number  of  spirited  pictures  depicting  scenes 
from  Russian  popular  life. 

ANJOU,  Rene  of.    See  Rene. 

ANNA,  BALDASS.4RE  d',  a  Fleming  by  birth, 
but  of  the  Venetian  school  of  painting.  He  was  a 
pupil  of  Corona  of  Murano,  and  after  his  master's 
death  completed  several  of  his  works.  He  also 
produced  many  original  pictures  for  the  Servi  and 
other  churches,  which,  tliough  inferior  to  those  of 
Corona  in  the  selection  of  forms,  surpass  them  in  the 
softness,  and  sometimes  in  the  force,  of  the  chiaro- 
scuro. He  flourished  toward  the  close  of  the  16th 
and  the  beginning  of  the  17th  century.  The  last 
record  we  have  of  him  is  in  1639. 

ANNELLA  Di  MASSIMO.    See  Beltrano. 

ANNIS,  \V.  T.,  an  English  mezzotint  engraver, 
of  whom  very  little  is  known.  He  exhibited 
landscapes  at  the  Royal  Academy  between  the 
years  1798  and  1811,  and  engraved  the  following 
plates  in  Turner's  Liber  Studiorum: 

Svmset ;  No.  40. 

Chepstow  Castle ;  No.  48.     Also 

Mary  Wollstonecraft  Godwin ;  after  Opie. 

ANNUNCIA^AO,  Thomaz  Jos6  da.  See  Da 
ANNr>jciA(;'AO 

ANRAADT,  Pieter  van,  flourished  at  Amster- 
dam, where  he  settled  in  1672,  and  married  the 
daughter  of  the  Dutch  poet  Jan  van  der  Veen. 
Notwithstanding  the  merit  of  this  master,  little  is 
known  of  the  circumstances  of  his  life.  Accord- 
ing to  Houbraken,  he  was  a  very  eminent  his- 
torical painter,  and  that  author  mentions  a  picture 
of  '  Regents'  painted  by  him  for  the  '  Huiszitten- 
huis '  at  Amsterdam.  Balkema  describes  him  as 
a  painter  of  portraits,  animals,  and  conversation- 
pieces. 

ANSALDO,  Andrea,  was  bom  at  Voltri,  a  small 
town  near  Genoa,  in  1584.  He  was  at  first  a 
scholar  of  Orazio  Cambiaso :  but  becoming  im- 
pressed with  the  beauty  and  splendour  of  the 
works  of  Paolo  Veronese,  he  studied  them  with 
great  attention,  and  formed  for  himself  an  excel- 
lent style  of  colouring,  both  in  oil  and  in  fresco. 
His  chief  work  was  an  'Assumption  of  the  Virgin,' 
in  the  cupola  of  the  church  of  the  Annunziata  at 
Genoa.  Many  other  works  of  tliis  master  are  in 
the  churches  and  palaces  in  that  city,  and  of  his 
native  town.  He  possessed  a  fertile  invention, 
and  his  compositions  are  decorated  with  architec- 
ture and  landscape,  introduced  with  a  very  happy 
effect  He  died  in  1638  in  Genoa,  having  acquired 
the  reputation  of  being  one  of  the  best  painters  of 
his  time. 

ANSALONI,  ViNCENZo,  was  a  native  of  Bologna, 
and  a  disciple  of  Lodovico  Carracci.  Under  so  able 

42 


an  instiiictor  he  became  a  reputable  painter  of 
history.  Malvasia  speaks  in  very  favourable  terms 
of  an  altar-piece  by  this  master,  in  the  chapel  of 
the  family  of  Fioravanti,  in  the  church  of  St. 
Stefano  at  Bologna,  representing  the  '  Martyrdom 
of  St.  Sebastian.'  His  chef-d'oeuvre  is  a  picture 
in  the  church  of  the  Celestine  Monks,  representing 
the  Virgin  Mary  with  the  Infant  Saviour  in  the 
clouds,  and  below,  St.  Roch  and  St.  Sebastian. 
According  to  Zani,  he  flourished  about  1615,  and 
died  young. 

ANSANO  DI  PIETRO  (di  Menico  or  Domenico). 
See  Sang  di  Pietro. 

ANSDELL,  Richard,  was  born  at  Liverpool 
May  11,  1815,  and  baptized  at  St.  Peter's  Church 
there.  He  was  educated  at  the  local  Bluecoat 
School  from  1824  to  1828,  from  which  it  may  be 
inferred  that  his  father  was  dead  and  his  relatives 
were  in  poor  circumstances.  His  grandfather  had 
owned  salt-works  near  Northwich.  Ansdell  is  said 
to  have  shown  skill  in  drawing  when  at  school,  and 
when  he  left  in  1828  it  was  to  go  to  W.  C.  Smith, 
profile  and  portrait  painter,  at  Chatham.  Later  he 
returned  to  Liverpool,  where,  after  some  experience 
of  commercial  employment,  he,  at  the  age  of 
twenty- one,  definitely  set  up  as  an  artist.  He 
attended  the  classes  of  the  Liverpool  Academy,  of 
wliich  he  afterwards  became  a  member,  and  event- 
ually president ;  the  bent  of  his  mind,  however, 
was  towards  animal  painting,  and  he  probably 
learned  most  in  the  school  of  natiu-e.  His  first 
appearance  at  the  Royal  Academy  was  in  1840, 
when  '  Grouse-shooting  ;  lunch  on  the  Moors  '  and 
'  A  Galloway  Farm,'  the  property  of  the  Marquis 
of  Bute,  were  hung.  He  was  then  at  Liverpool, 
which  remained  his  address  until  1847,  when  he 
had  removed  to  Kensington.  In  the  interim  he  had 
been  represented  every  year  at  Somerset  House  : 
in  1841  and  1845  by  sporting  portrait  groups  ;  in 
1842  by  the  liistorical  subject,  'The  Death  of  Sir 
William  Lambton  at  the  Battle  of  Marston  Moor ' ; 
in  1843  by  'The  Death';  in  1844  by  'Mary 
Queen  of  Scots  returning  from  the  Chase  to  Stirling 
Castle'  ;  and  in  1846  by  'The  Stag  at  Bay.'  The 
equally  popular  'The  Combat'  and  'The  Battle 
for  the  Standard  '  followed  in  1847  and  1848.  In 
the  meantime  Ansdell  had  commenced  exhibiting  at 
the  British  Institution  in  1846,  to  which,  in  all,  he 
sent  thirty  works.  Ansdell  achieved  an  early  and 
enduring  popularity,  and  the  ready  sale  of  his 
pictures,  combined  with  the  profits  from  engrav- 
ings, must  have  yielded  him  a  large  income.  He 
painted  a  wide  range  of  animal  subjects,  much  in 
the  vein  of  Landseer;  although  without  high  ex- 
cellence as  a  painter,  he  had  facility  and  skill  in 
composition,  which,  with  his  happy  knack  in  choice 
of  effective  subjects,  sufficed  for  the  very  large 
public  that  likes  animal  pictures  seasoned  with  a 
dash  of  theatrical  human  sentiment.  In  1849  there 
appeared  'The  Death  of  Gelert'  and  '  The  Wolf 
Slayer '  ;  and,  in  1850,  '  The  Rivals.'  In  the  fol- 
lowing year  the  number  of  his  pictures  at  the  Royal 
Academy  was  three,  and  during  the  remainder  of 
his  life  he  seldom  bad  fewer  and  usually  more.  In 
1869  and  1871  he  showed  sis,  and  in  1872  eight 
works.  His  total  contributions  from  1840  to  1885 
numbered  150,  and  he  only  missed  one  year,  1880. 
In  1851  Ansdell  exhibited  the  first  of  several  pic- 
tures painted  in  collaboration  with  others,  "The 
Shepherd's  Revenge,'  the  background  of  which  was 
supplied  by  T.  Creswick,  R.A.  elect.  In  1855  the 
same  artist  was  his  fellow-worker  in  '  The  Nearest 


PAINTERS  AND  ENGRAVERS. 


Way  in  Summer-time,'  while  '  Feeding  the  Calves ' 
was  in  part  by  W.  P.  Frith,  R.A.  In  the  same 
year  he  won  a  third-class  gold  medal  at  Paris  with 
'  The  Wolf  Slayer  '  and  '  Turning  the  Drove '  (R.A. 
1851).  In  1856  he  made  his  first  visit  to  Spain 
with  J.  Phillip,  and  at  the  Royal  Academy  he 
showed  '  Going  to  be  Fed,'  to  which  that  artist 
had  contributed.  In  the  two  following  years 
Ansdell's  pictures  were  all  from  Spanish  subjects. 
In  1861  he  was  elected  A.R.A.,  and  exhibited  his 
'  Hunted  Slaves,'  a  very  effective  and  popular  piece 
of  melodrama,  which  now  represents  him  in  the 
public  collection  of  his  native  place,  along  with 
'  A  Mastiff '  and  '  A  Shooting  Party  in  the  High- 
lands— Halting  for  Lunch.'  In  the  following  year 
he  was  at  Kensington,  although  a  good  deal  of  his 
time  was  spent  at  a  little  lodge  built  for  him 
beside  Loch  Laggan.  Ansdell  became  R.A.  in 
1870,  and  towards  the  end  of  his  life  he  established 
himself  at  Farnborough,  where  he  died  in  1885. 
It  has  been  stated  that  during  his  last  quarter  of  a 
century  he  showed  181  pictures  in  London,  and 
received  for  them  an  average  price  of  £750  each. 
A  '  View  of  St.  Michael's  Mount,  Cornwall,'  realized 
£1410  10s.  at  Baron  Grant's  sale.  Mr.  J.  G.  Millais, 
a  critic  peculiarly  well  qualified,  has  pronounced 
the  '  Combat  of  Red  Stags '  the  best  picture  of  a 
deer  by  Ansdell — a  canvas  that  might  well  have 
come  from  the  brush  of  Landseer ;  for  in  it  there  is  a 
splendid  amount  of  "  go  "  and  action.  As  a  rule, 
though  Ansdell  excelled  in  the  grouping  of  his 
subjects  and  execution  of  detail,  neither  his  large 
animals  (except  dogs)  nor  his  birds  completely 
satisfy.  His  deer  are  too  obviously  drawn  from 
dead  ones,  and  with  regard  to  birds,  he,  like 
Reinagle,  followed  too  closely  the  inaccuracies  of 
the  bird-stuffers. 

ANSELIN,  Jean  Lodis,  a  French  line-engraver, 
who  was  born  in  Paris  in  1754,  was  a  pupil  of  A. 
de  Saint-Aubin.  He  became  engraver  to  the  king, 
and  died  at  Paris  in  1823.  Among  his  best  works 
are  the  following ; 

La  Marquise  de  Pompadour  ;  after  Van  Loo. 

The  Siege  of  Calais  ;  after  Berthilemy. 

Moliere  reading  his  '  Tartuffe '  at  the  house  of  Ninou  de 
Lenclos ;  after  Monbiau. 

The  Sleeping  Child;  after  Donato  Creti ;  for  Laurent's 
Musee  Fran(;ais. 

ANSELL,  Charles,  flourished  towards  the  close 
of  the  18th  century.  His  name  occurs  only  twice — 
1780  and  1781— in  the  catalogues  of  the  Royal 
Academy.  He  was  celebrated  for  his  drawings  of 
the  horse,  but  also  drew  domestic  subjects.  His 
'  Death  of  a  Race-horse '  was  engraved  in  six 
plates,  and  published  in  1784. 

ANSELMI,  Giorgio,  born  at  Verona,  in  1723, 
was  a  pupil  of  Balestra.  His  masterpiece  is  the 
painting  in  fresco  in  the  cupola  of  Sant'  Andrea 
at  Mantua.     He  died  in  1797. 

ANSELMI,  Michelangelo,  called  'Michel- 
angelo da  Lucca,'  was  born  at  Lucca,  in  1491,  and 
was  a  disciple  of  Bazzi.  He  principally  resided 
at  Parma,  where  one  of  his  first  performances 
was  a  considerable  work  painted  from  a  design 
of  Giulio  Romano,  representing  the  'Coronation 
of  the  Virgin.'  He  painted  several  pictures  of  his 
own  composition  for  the  churches  in  Parma,  some 
of  which  bear  a  resemblance  to  the  style  of  Cor- 
reggio.      He  died  in  1554,  at  Parma. 

The  following  are  his  best  works  : 

Florence.  Uffizi.  Nativity. 

London.    Northbrook  Coll.  Madonna  and  Saints. 

Paris.         Louvre.  Virgin  in  Glory. 


Parma.      Cathedral.  Madonna  and  Child. 

,,  Gallery.  Christ  on  the  way  to  Calvary 

^^Itec^ta^'  \      Coronation  of  the  Virgin. 
Eeggio.     S.  Prospero.         Baptism  of  Christ. 

ANSIAUX,  Jean  Joseph  Eleonoke  Antoinb,  a 
French  historical  and  portrait  painter,  a  scholar  of 
Vincent,  was  born  at  Liege,  in  1764.  His  works, 
taken  from  sacred  and  profane  history,  and  poetical 
subjects,  are  numerous,  and  place  him  among  the 
best  artists  of  the  French  school  in  the  19th 
century.  He  also  painted  portraits  of  several 
distinguished  persons,  ministers,  and  generals  of 
Napoleon.     He  died  at  Paris  in  1840. 

The  following  are  some  of  his  best  works : 


Angers.  Cathedral. 
Arras.  Cathedral. 
Bordeaux.  Museum. 

Le  Mans.  Cathedral. 
liege.     Cathedral. 


lille. 


Hdtel-de-  Ville 
Museum. 


Metz.      Cathedral. 

Paris      S.Etienne-du-Mont, 


Raising  of  the  Cross.     1827. 

Kesurrection. 

Richelieu  presenting  Poussin 

to  Louis  XIII.     1817. 
Adoration  of  the  Kings. 
Ascension.     1812. 
Conversion  of  St.  Paul.   1814. 
Ketum  of  the  Prodigal  Son. 

1819. 
St.    John    rebuking    Herod. 

1822. 
Finding  of  Moses.    1822. 
The  Flagellation. 
St.  Paul  preaching  at  Athens. 


ANSUINO  (or  Ansovino),  of  Forli,  who  flourished 
about  1455,  was  one  of  the  pupils  of  Squarcione, 
a  fellow-worker  with  Mantegna  in  the  frescoes  in 
the  Eremitani  Chapel  at  Padua  ;  and  his  work 
bears  traces  of  the  influence  of  that  master.  The 
inscription  Opus  Ansvini  is  attached  to  the  repre- 
sentation of  '  St.  Christopher.' 

ANTHJ3NISSEN,  H.  (?  Hendrik)  van,  a 
Dutch  marine  painter  who  flourished  about  the 
middle  of  the  17th  century.  He  painted  in  the 
style  of  J.  van  Goyen  and  Jan  Parcellis.  He  is 
the  author  of  sea  paintings,  in  the  Hermitage,  St. 
Petersburg,  and  the  Prague  Gallery,  which  through 
their  signatures  have  been  ascribed  to  a  mythical 
Hendrik  van  Antem. 

ANTHONISZOON,  Cornelis,  (or  Antoniszoon), 
was  born  at  Amsterdam,  about  the  year  1500. 
He  excelled  in  representing  the  interior  views 
of  towns,  which  he  did  with  uncommon  fidelity. 
In  the  H6tel-de-Ville  at  Amsterdam  is  a  picture 
by  this  master,  representing  that  city  as  it  was 
in  1536.  He  afterwards  painted  twelve  views 
of  the  same  city,  with  its  principal  public  build- 
ings, which  he  engraved  on  twelve  blocks  of 
wood.  These  prints  are  now  rare.  He  was  also 
known  as  Tednissen — the  abbreviation 
of  his  name.  Hence  his  monogram.  In  f-'^.'ji 
Meyer's  '  Kiinstler-Lexikon  '  is  a  hst  of  Wll 
his  engravings. 

ANTHONY,  George  Wilfred,  landscape 
painter,  was  bom  at  Manchester,  where  he  studied 
landscape  painting  under  Ralston,  and  afterwards 
under  Barber  of  Birmingham.  After  travelling 
about  for  some  time,  he  finally  settled  at  Man- 
chester as  a  drawing-master.  He  was  also  an 
art-critic,  and  wrote  several  very  able  reviews  of 
local  exhibitions  for  the  '  Manchester'  Guardian.' 
He  died  at  Manchester,  in  1859. 

ANTHONY,  Mark,  bom  at  Manchester  in  1817, 
of  Welsh  descent.  Trained  for  the  medical 
profession,  and  at  sixteen  placed  with  a  doctor, 
at  Cowbridge,  Glamorganshire ;  who,  being  an 
amateur  painter  of  some  skill,  encouraged  the 
artistic  leanings  of  his  assistant.     Having  some 

43 


A  BIOGRAPHICAL  DICTIONARY  OF 


private  means,  Anthony  abandoned  medicine  and 
went  abroad  to  pursue  bis  studies  at  Paris  and  the  < 
Hague.  He  is  said  to  hare  remained  about  ten 
years  on  tlie  Continent,  making  Paris  his  head- 
quarters. The  dates  are  uncertain.  In  1837  he 
showed  at  the  Royal  Academy  a  view  on  the 
Rhaidba  {gic)  Glamorganshire,  which  suggests 
recent  residence  at  Cowbridge,  and  in  1843,  when 
he  next  exhibited  at  Somerset  House,  be  had  a 
fixed  address  in  London  at  28,  Sussex  Street. 
His  name  in  the  catalogues  of  that  and  several 
subsequent  years  was  given  as  H.  M.  Anthony. 
In,  or  about,  1837  be  came  in  contact  with  Diipre 
and  Corot  at  Fontainbleau  and  was  considerably 
affected  by  them.  In  1840  be  first  exhibited  at  the 
British  Institution,  and  in  1845  he  became  a  member 
of  the  Society  of  British  Artists.  For  their  exhibi- 
tions he  painted  'Harvest  Home'  (1847)  'Prayer 
for  the  Absent'  (1848)  'An  Old  Country  Church- 
yard' (1849),  and  'Tlie  Elm  at  Eve'  (1850). 
Meantime,  after  missing  two  years,  he  showed,  in 
1849,  'Sunshine  and  Showers'  at  the  Royal 
Academy.  He  was  then  at  18,  Monmouth  Road, 
Westbourne  Grove.  After  another  lapse  of  two 
years,  he  asain  bad  a  picture  in  the  Royal 
Academy  in  1852,  and  thereafter  with  one  exception 
(1862)  he  had  either  one  or  two  pictures  annually 
at  Somerset  House  until  1866.  In  1852  he  had 
resigned  from  the  British  Institution,  hoping  for 
an  associateship  of  the  Academy :  this,  however, 
he  never  obtained.  Although  never  a  practitioner 
of  the  pre-Rapbjelite  methods,  Anthony  was  on 
intimate  terms  with  that  group  and  their  friends  ; 
especially  Madox  Brown,  who  esteemed  him 
highly.  In  January  1855  Brown,  in  bis  diary,  wrote, 
apropos  of  Anthonj''s  pictures,  "  He  has  a  habit 
(of  late  particularly)  of  making  bis  skies  so  heavy 
that  they  quite  spoil  all  the  fine  qualities  otherwise 
evinced  in  his  works.  The  picture  of  Stratford 
Church,  however,  is  magnificent  in  every  respect, 
save  the  sky  ;  which,  if  he  can  paint,  it  will  be 
one  of  bis  finest  works.  It  is  admirable  colour, 
but  his  other  works  look  somewhat  opaque." 
Brown  was  an  excellent  critic,  and  here  be  has 
summarized  the  merits  and  faults  of  Anthony. 
From  one  of  Brown's  letters  in  the  autumn  of 
1855  to  Lowes  Dickinson,  it  appears  that  Anthony 
had  been  very  successful  indeed,  and  was  then  in 
Ireland  ;  and  from  another  to  the  late  Mr.  George 
Rae  in  1868  we  learn  that  "  Anthony  has  been 
again  to  Spain :  ''  this  perhaps  accounts  for  the 
lack  of  anything  at  the  Royal  Academy  until 
18G9,  when  'The  City  and  Fortress  of  Lerida' 
was  exhibited.  In  1873  he  showed  'Evensong' 
(Chingford  Church,  Essex),  one  of  his  best  pic- 
tures, which,  being  sent  in  the  same  year  to  the 
Liverpool  Autumn  Exhibition  (to  which  Anthony 
had  contributed  from  the  commencement,  in  1871), 
was  purchased  for  the  Permanent  Collection. 
This,  however,  was  not  his  first  Liverpool  recog- 
nition, for  in  1854  he  was  awarded  the  annual  prize 
of  £50  for  the  "best"  picture  in  the  Exhibition 
of  the  Liverpool  Academy.  This  was  '  Nature's 
Mirror,'  now  in  the  possession  of  Mr.  Albert 
Woods.  In  the  latter  part  of  his  life,  Anthony 
withdrew  more  and  more  from  social  intercourse, 
and  eventually  he  discontinued  exhibiting  at  the 
Royal  Academy  after  1879.  He  continued  to 
exhibit  at  Liverpool  so  long  as  the  exhibitions 
of  the  Academy  were  continued,  and  afterwards 
when  they  were  resumed  under  the  auspices  of 
the  corporation,  until  his  death,  which  took  place 
44 


on  the  2nd  of  December  1886.  From  1858  he  had 
resided  at  the  Lawn,  Hampstead.  His  pictures 
are  for  the  most  part  English  landscapes,  poectical 
and  triste  in  sentiment,  but  well  painted  though 
unequal  in  merit.  He  occasionally  touched  genre, 
and  in  1865  exhibited  a  sheep-washing  subject. 
Most  of  bis  works  are  in  private  collections.  His 
rather  theatrical  '  Harvest  Festival '  (probably  the 
'Harvest  Home'  of  1847)  is  in  the  Salford  Public 
Art  Gallery.  His  '  Deserted  Church '  and  '  Erith 
Church '  were  in  the  Manchester  Jubilee  Exhibition 
of  1886.  A  recent  tendency  to  spell  tliis  painter's 
name  Antony  appears  to  have  no  justification. 
His  first  baptismal  name  was  probably  Henry. 

ANTIDOTUS,  a  disciple  of  Euphranor,  and  the 
instructor  of  Nicias  the  Athenian,  flourished  about 
B.C.  336.  He  was  more  remarkable  for  the  labori- 
ous finish  of  his  encaustic  paintings  than  for  the 
ingenuity  of  his  invention.  His  colouring  was  cold, 
and  his  outline  hard  and  dry.  Among  the  few 
pictures  by  him  which  have  been  noticed,  were  '  A 
Warrior  ready  for  Combat ; '  'A  Wrestler  ; '  and 
'  A  Man  playing  on  the  Flute.'  Pliny  is  the  only 
writer  who  has  mentioned  him. 

ANTIGNA,  Jean  Pierre  Ales-ixdre,  was 
born  in  1818  at  Orleans,  at  the  college  of  which 
city  he  was  educated.  He  was  taught  drawing 
by  Salmon,  a  professor  of  merit,  who,  discover- 
ing the  talent  of  bis  pupil,  induced  him  in  1836 
to  enter  the  studio  of  Norblin.  After  remain- 
ing here  a  twelvemonth  he  placed  himself  under 
Delaroche,  from  whom  he  received,  during  seven 
years,  instruction  and  counsel.  Under  his  influ- 
ence he  made,  in  1841,  his  debut  in  religious 
subjects,  which  he  continued  to  paint  until  about 
1846,  when  he  turned  his  attention  to  genre  paint- 
ing, and  it  was  in  this  branch  of  art  that  he 
achieved  his  reputation.  He  was  awarded  medals 
at  the  Salons  of  1847,  1848,  and  1851,  and  he  also 
obtained  a  medal  at  the  Paris  Exhibition  of  1855, 
which  included  a  good  collection  of  his  works.  He 
was  decorated  with  the  Legion  of  Honour  in  1861. 
He  died  on  the  27th  of  Felsruary,  1878.  His  chief 
works  are : 

Angers.      Museum.     The  Mirror  of  the  Woods.     1865. 
Avignon.   Museum.     Vision  of  Jacob. 
Bordeaux.  Museum.     Episode  of  the  Vendean  War.   1864. 
Orleans.     Museum.     The  Chimney  Corner. 
„  „  The  First  Plaything. 

„  „  The  Storm. 

„  „  "Women  Bathing. 

Paris.      Luxembourg. The  ¥iie.     1850. 

0.  J.  D. 

ANTIPHILUS,  a  painter  of  Egj-pt,  was  of 
Greek  extraction,  and  a  pupil  of  Ctesidemus.  He 
flourished  in  the  time  of  Ptolemy  Philopator,  at 
the  close  of  the  third  century  before  Christ.  He 
invented  the  caricatures  known  as  '  Grylli,' — a 
kind  of  grotesque  monsters,  part  animal  or  bird 
and  part  man.  Quintilian  praises  him  for  his 
facility  in  painting,  and  he  is  also  noticed  by 
Pliny  and  Lucian.  Amongst  his  works  mentioned 
are  a  'Satyr  with  a  Panther-bide,'  a  '  Boy  blow- 
ing a  Fire,'  and  portraits  of  Philip  of  Macedon 
and  Alexander  the  Great. 

ANTIQDUS,  Johannes,  was  born  at  Groningen 
in  1702,  and  learned  from  Gerard  van  der  Veen  the 
art  of  painting  on  glass,  which  he  practised  for 
some  years  ;  but  he  afterwards  became  a  scholar 
of  Jan  Abel  Wassenberg,  a  respectable  painter  of 
history  and  portraits,  under  whom  he  studied  some 
rime.  He  aftenvards  went  to  France,  where  he 
was  much  employed  as  a  portrait  painter,  but  did 


ANTONELLO  DA  MESSINA 


Ha  nj'sta  ngl  photo\ 


ST.  JEROME  IN  HIS  STUDY 


^National  Gallery,  I  ondo. 


PAINTERS  AND  ENGRAVERS. 


not  long  remain  at  Paris,  being  desirous  of  visiting 
Italy.  He  resided  chiefly  at  Florence,  where  he 
was  employed  by  the  Grand  Duke  of  Tuscany  for 
six  years.  His  principal  work  was  a  large  picture 
of  the  '  Fall  of  the  Giants,'  wliich  was  esteemed  of 
sufBcient  merit  to  occasion  the  sketcli  of  it  to  be 
placed  in  the  Florentine  Academy.  After  passing 
several  years  in  Italy,  he  returned  to  Holland, 
where  he  met  with  a  very  flattering  reception,  and 
was  employed  by  the  Prince  of  Orange  in  the 
Palace  of  Loo,  where  he  painted  a  large  picture  of 
'  Mars  disarmed  by  the  Graces,'  and  several  other 
works.  He  was  a  correct  draughtsman  and  a 
good  colourist.  He  died  in  1750.  His  brother 
Lambert  was  also  a  painter  of  merit.  He  was 
living  at  Groningen  as  late  as  1751. 

ANTOINE,  S^BASTIEN,  an  engraver  of  no  great 
celebrity,  was  born  at  Nancy,  in  1687.  We  have 
by  him  a  portrait  of  Augustin  Calmet,  a  large  oval 
plate,  dated  1729  ;  the  '  Enterprise  of  Prometheus,' 
from  the  ceiling  at  Versailles,  painted  by  Mignard  ; 
and  a  representation  of  the  crown  of  Jewels  used 
at  the  coronation  of  Louis  XV.  in  1722.  He 
worked  chiefly  with  the  graver,  in  a  slight,  feeble 
style.  He  is  known  to  have  engraved  as  late  as 
1761. 

ANTOLINEZ,  Jos6,  was  born  at  Seville  in 
1639.  At  an 'early  age  he  was  sent  to  Madrid  to 
study  under  Francisco  Rizi,  one  of  the  painters  of 
Philip  IV.  He  painted  history  and  portraits,  and 
was  also  admired  for  the  landscapes  he  introduced 
into  his  works.  Palomino  spoke  favourably  of 
two  pictures  by  this  master,  which  were  in  the 
church  of  La  Magdalena  at  Madrid ;  they  repre- 
sented the  '  Miraculous  Conception,'  and  the  '  Good 
Shepherd.'  He  died,  from  the  effects  of  wounds 
received  in  a  duel,  at  Madrid  in  1676. 

ANTOLINEZ  y  SAKABIA,  Francisco,  who  was 
born  at  Seville  in  1644,  was  nephew  of  3osi  Anto- 
linez.  He  was  an  historical  and  landscape  painter, 
and  studied  in  the  school  of  Murillo,  whose  style 
and  manner  of  colouring  he  followed.  He  went  to 
his  uncle  at  Madrid  in  1672  ;  but  notwithstand- 
ing his  having  already  distinguished  himself  as  a 
painter,  he  left  the  profession  for  literary  pursuits, 
and  for  the  purpose  of  obtaining  a  lucrative  situa- 
tion at  the  bar,  having  been  originally  educated  at 
Seville  for  the  law.  Being  unsuccessful,  he  was 
compelled  again  to  have  recourse  to  painting  as  a 
means  of  subsistence.  It  was  then  that  he  pro- 
duced those  small  pictures  from  the  Bible  and  the 
life  of  the  Virgin,  which  are  so  much  admired  by 
amateurs  for  their  invention,  colour,  and  facility 
of  execution.  He  died  in  1700  at  Madrid,  regretted 
by  the  true  friends  of  art,  who  lamented  the  mis- 
application of  those  talents  with  which  he  was 
endowed. 

ANTON  VON  WORMS.     See  Woensam. 

ANTONAZO  (or  Antoniacci).     See  Aqdilio. 

ANTONELLO  da  MESSINA.  See  Antonio, 
Antonello  d'. 

ANTONIANUS,  Silvands.  According  to  Pa- 
pillon,  this  artist  was  an  engraver  on  wood,  and 
flourished  about  the  year  1567.  He  executed  a  set 
of  cuts  for  a  book  of  Fables,  published  at  Antwerp 
in  1567,  entitled  Centum  FahulcB  ex  antiquis 
auctoribus  delectae,  et  a  Gahriele  Faerno  Cremo- 
nensi  carminihis  explicatcB.  He  usually  ^^ 
marked  his  prints  with  a  monogram  com-  /j 
posed  of  an  S  and  an  .4.  t/  *  } 

ANTONIASSO  (or  Antoniacci).    See  Aquilio. 

ANTONIO,  Antonello  d',  (or  Degli  Antonj), 


commonly  known  as  Antonello  da  Messina,  played 
an  important  part  in  the  introduction  of  oil  paint- 
ing into  Italy.  We  have  few  authentic  details  of 
this  artist's  life.  He  was  bom  at  Messina  about 
the  middle  of  the  15th  century  (some  writers  say 
in  1414,  others  in  1421.  &o.),  and  studied  art  in 
Sicily,  where  he  painted  some  time.  According 
to  Summonzio,  lie  was  a  scholar  of  Colantonio, 
an  obscure  artist.  He  went  subsequently  to 
Naples,  and  having  seen  there,  in  possession  of 
AKonso  of  Aragon,  a  painting  by  Jan  van  Eyck, 
he  was  so  struck  by  it,  that  he  left  everything 
and  went  to  Flanders,  where  he  studied  princi- 
pally after  the  works  of  Van  Eyck,  and  became 
acquainted  with  his  disciples,  in  conjunction  with 
whom  he  is  supposed  to  have  executed  several 
works.  After  having  thus  acquired  the  art  of 
painting  in  oil,  he  returned  to  Italy  about  the 
year  1465,  and  it  is  quite  certain  that  he  was  at 
Messina  in  1472  and  1473,  when  he  painted  in  San 
Gregorio  a  triptych,  representing  the  Virgin  and 
Child  enthroned,  with  two  Angels  holding  the 
crown,  between  St.  Benedict  and  St.  Gregory.  In 
1473  he  visited  Venice,  where  he  painted  a  '  Ma- 
donna and  St.  Michael,'  in  San  Cassiano,  now  lost, 
which  was  long  considered  the  chief  ornament  of 
that  church ;  besides  this  he  executed  excellent 
portraits  of  a  small  size,  for  which  he  had  high 
reputation.  His  introduction  of  painting  in  oil 
made  a  great  sensation  among  the  artists  at  Venice, 
and  he  soon  became  followed  by  Bartolommeo  and 
Luigi  Vivarini,  Giovanni  and  Gentile  Bellini,  Car- 
paccio  and  Cima.  He  is  also  said  to  have  visited 
several  towns  in  Lombardy  between  1480  and 
1485,  and  to  have  been  known  at  Milan  as  an  artist 
of  merit.  The  exact  date  of  his  death  is  uncer- 
tain, but  it  probably  occurred  at  Venice  about  1493. 
Antonello  was  the  first  Italian  painter  who  prac- 
tised Van  Eyck's  method  of  painting  in  oil.  He 
was  an  eminent  colourist,  and  bis  tones  are  so 
warm,  clear,  and  bright  that  he  almost  surpassed 
Van  Eyck.  As  an  Italian  he  tried  to  unite  a  certain 
simplicity  and  natural  beauty  with  the  character- 
istic Fl  ;mish  execution  of  the  details  ;  but  he  did 
not  su  jceed,  and  for  that  reason  his  outline  is 
sometimes  stiff  and  hard.  His  portraits  were 
entirely  successful,  and  possessed,  in  spite  of  all 
the  detail,  a  certain  idealism.  The  following  is  a 
list  of  some  of  his  authentic  paintings,  compiled 
for  the  most  part  from  Meyer's  '  Kiinstler-Lesikon :' 


Antwerp.      Museum. 
Berlin.  Jfiiseum 


Dresden.  Gallery. 
Genoa.  Sphwla  Pal. 
London.  Nat.  Gallery. 


Messina.  S.  Greyorio. 


„  &  Niccolv. 

Paris.         Louvre. 


Rome.  Pal.  Borghese 
Venice      Academy. 


Christ  on  the  Cross  between  the  two 
Thieves,  with  the  Virgin  and  the 
Evangelist.     1475. 

The  Virgin  with  the  ChiM  in  aland- 
scape  {signed). 

St,  Sebastian  (signed). 

A  man's  portrait  {signed  1445  ; 
originally  147S?). 

St.  Sebastian. 

Ecce  Homo. 

Salvator  Mundi.     1465. 

The  Crucifixion. 

St.  Jerome  in  his  Study. 

The    Virgin    and    Child    between 
St.  Gregory   and  St.    Benedict. 
1473. 
.  St.  Nicholas. 

Portrait  of  a  man,  dated  1475  {vnr- 
chased  at  the  Ponrtales  safe  in 
1865,/or  frs.  113,500  =  £4540). 

Portrait  of  a  man  in  a  red  dress. 
1475. 

Christ  bound  to  the  pUlar. 

A  Nun  in  tears. 

45 


A  BIOGEAPHICAL  DICTIONARY  OF 


Venice.        Academy.  A  Virgin  reading  at  a  desk. 

„  Casa  Giovanelli.  The  portrait  of  a  young  Patrician. 
Vienna.       Gallery.    The  dead  body  of  Christ  supported 
by  three  Angels. 

ANTONIO,  GiROLAMO  da,  a  Carmelite  Friar, 
who  entered  his  order  in  1490,  at  Florence,  and 
■n-orked  in  it  and  for  it  until  his  death  in  1529.  He 
is  known  chiefly  by  two  works — the  one  a  picture 
of  '  Christ  as  a  Man  of  Sorrows,'  signed  and  dated 
1504,  in  the  Carmine  :  the  other,  an  altar-piece, 
representing  '  Christ  adored  by  the  Virgin  and  St. 
Joseph,'  signed  and  dated  1519,  in  the  Scuola 
della  Carita,  at  Sarona. 

ANTONIO,  Pedeo,  was  born  at  Cordova  in  1614, 
and  was  a  scholar  of  Antonio  del  Castillo.     Some 
pictures  which  he  painted  for  the  convent  of  San 
Pablo  at  Cordova,  established  his  character  as  a 
good  colourist.    He  died  in  1675  in  his  native  city. 
ANTONIO  DA  FERRARA.     See  Ferrara. 
ANTONIO  DA  MONZA,  Fra.     See  Monza. 
ANTONIO  DA  MDRANO.     See  Murano. 
ANTONIO  DA  TRENTO.     See  Teento. 
ANTONIO  DE  HOLANDA.     See  Holakda. 
ANTONIO  DE  SAN  ANTONIO.    See  San  An- 
tonio. 
ANTONIO  VENEZIANO.    See  Veneziano. 
ANTONISSEN,  Heneicus  Josephds,  a  painter  of 
landscapes  and  cattle,  was  born  at   Antwerp  in 
1737.     He  entered  the  studio  of  Balthazar  Beschey, 
in  1752-53,  and  three  years  later  he  was  free  of  the 
Guild  at  Antwerp  of  which  he  was  twice  Dean. 
His  works  are  mostly  in  private  collections  on  the 
Continent.      In   the  Stadel  Gallery  at  Frankfort 
there  is  a  '  Landscape  \\-ith  Cattle'  by  him  ;  signed 
and  dated  1792.     He   died  at  Antwerp,  in  1794. 
He   instructed   numerous   scholars,  and   amongst 
them  the  celebrated  Ommeganck. 
ANTONISZOON,  Corxelis.    See  Anthoniszoon. 
ANTONJ,  Degli.    See  Antonio,  Antonello  d'. 
ANTDM,  Aart  van,  was  a  Dutch  marine-painter, 
who  flourished  from  about  1630  to  1640.     A  sea- 
piece  by  him,   signed    A-  A.,   is  in  the   Berlin 
Museiun. 

APARICIO,  Josfi,  a  Spanish  historical  painter, 
was  bom  at  Alicante,  in  1773,  and  studied  in  Paris 
under  David.  His  chef-d'oeuvre, '  The  Redemption 
of  Algerian  Captives,'  is  in  the  Madrid  Gallery. 
He  died  in  Madrid,  in  1838. 

APELDOORN,  Jan,  a  landscape  painter  and 
designer,  was  scholar  to  Jordan  Hoorn,  at  Amers- 
foort,  where  he  was  born  in  1765.  He  painted  but 
few  pictures  in  oil.  He  resided  nearly  fifty  years 
at  Utrecht,  but  died  in  his  native  town  in  1838. 

APELLES,  the  greatest  of  all  Grecian  painters, 
was  probably  born  at  Colophon  in  Ionia,  although, 
according  to  Pliny  and  Ovid,  he  was  a  native  of 
the  isle  of  Cos  ;  whilst  Strabo  and  Lucian  call  him 
an  Ephesian.  Neither  the  date  of  his  birth,  nor 
that  of  his  death,  is  known  ;  it  is  only  certain  that  he 
flourished  from  before  B.C.  336  until  after  B.C.  332. 
He  was  a  disciple  of  Pamphilus,  and  was  probably 
of  a  distinguished  family,  as  no  student  of  mean 
birth  was  admitted  into  the  school  of  that  master. 
Combining  in  himself  all  the  excellences  of  the 
artists  who  had  preceded  him,  and  endowed  with 
a  genius  capable  of  contending  with  the  most 
arduous  difBculties,  Apelles  is  generally  supposed 
to  have  carried  art  to  the  highest  attainable  per- 
fection. He  not  only  excelled  in  composition, 
design,  and  colouring,  but  also  possessed  an  un- 
bounded invention.  He  was  select  and  beautiful 
in  his  proportions  and  contours,  and,  above  all,  his 
46 


figures  were  always  distinguished  by  an  unspeac- 
able  grace,  which  was  peculiar  to  him,  and  may  be 
almost  said  to  have  been  the  efEect  of  inspiration. 
No  painter  ever  applied  to  the  study  of  his  art 
^vith  more  persevering  assiduity  than  Apelles.  He 
never  permitted  a  day  to  pass  without  practising 
some  branch  of  his  art ;  hence  the  proverb,  Nulla 
dies  sine  lined. 

His  extraordinary  talents,  and  the  polished 
accomplishments  of  his  mind,  secured  him  the 
patronage  and  esteem  of  Alexander  the  Great, 
from  whom  he  received  the  exclusive  privilege  of 
painting  his  likeness.  Among  others,  was  a  por- 
trait of  Alexander  holding  a  thunderbolt,  painted 
on  the  walls  of  the  temple  of  Diana,  at  Ephesus : 
which  was  so  admirably  executed,  that  Plutarch 
reports  that  it  used  to  be  said  there  were  two 
Alexanders,  one  invincible,  the  son  of  Philip,  the 
other  inimitable,  the  work  of  ApeUes.  For  this 
picture  he  received  twenty  talents  (£4320). 

But  his  most  admired  production,  which  is  said 
to  have  cost  the  enormous  sum  of  100  talents 
(£21,600),  was  a  picture  of  Venus  rising  from  the 
sea,  called '  Venus  Anadyomene,'  which  was  painted 
for  the  temple  of  .3)sculapius  at  Cos,  and  which 
Ovid  has  celebrated  in  his  verses  : 

Si  Venerem  Cois  nunquam  pinxisset  Apelles, 
Mersa  sub  aequoreis  ilia  lateret  aquis. 

Pliny  asserts  that  Alexander  permitted  his  fa- 
vourite mistress,  the  beautiful  Campaspe,  to  sit  to 
him  for  his  Venus,  and  that  the  painter  became 
so  enamoured  of  his  model,  that  the  conqueror 
resigned  her  to  him.  Other  writers  pretend  that 
Phryne  served  him  as  a  model  for  his  Venus.  We 
are  told  by  SAis.r\,  in  his  '  Various  Histories,'  that, 
having  painted  a  portrait  of  Alexander  on  horse- 
back, which  was  not  so  much  admired  as  it  de- 
served by  the  monarch,  whose  horse  neighed  at 
the  sight  of  the  charger  in  the  picture,  Apelles  said 
to  Alexander :  '•  Sire,  it  is  plain  that  your  horse  is 
a  better  judge  of  painting  than  your  Majesty." 

One  of  this  painter's  disciples  having  shown  him 
a  picture  of  Helen,  which  he  had  loaded  with  gold, 
"Yoimg  man,"  said  the  painter,  "not  being  able 
to  make  thy  Helen  beautiful,  thou  hast  resolved 
to  make  her  rich." 

One  of  the  chief  excellences  of  Apelles  in  por- 
trait painting  was  to  give  so  perfect  a  resemblance 
of  the  person  represented,  that  the  physiognomists 
were  able  to  form  a  judgment  as  easily  from  his 
pictures  as  if  they  had  seen  the  originals.  This 
readiness  and  dexterity  in  taking  a  likeness  was  oi 
lingular  utility  to  the  painter,  in  extricating  him 
from  a  very  perilous  dilemma  into  which  he  was 
thrown  at  the  court  of  Ptolemy.  When  that 
prince  reigned  in  Egjrpt,  Apelles,  who  had  not 
the  good  fortune  to  be  in  favour  with  Ptolemy, 
was  driven  by  a  storm  into  the  port  of  Alexandria, 
where  his  enemies  suborned  a  mischievous  fellow, 
who  was  one  of  the  king's  bufEoons,  to  play  a 
trick  upon  him,  by  inviting  Apelles,  in  the  king's 
name,  to  supper.  On  his  arrival,  finding  Ptolemy 
surprised,  and  not  very  well  pleased  with  his  visit, 
he  apologized  for  his  coming  by  assuring  the 
king  that  he  should  not  have  presumed  to  wait 
upon  him  but  by  his  own  invitation.  Being  re- 
quired to  point  out  the  person  who  had  thus  im- 
posed upon  him,  he  sketched  his  portrait  from 
memory,  with  a  coal  upon  the  wall,  which  Ptolemy 
instantly  recognized  to  be  his  buffoon.  This  ad- 
venture reconciled  him  to  Ptolemy,  who  after- 
wards loaded  him  with  wealth  and  honours. 


PAINTERS  AND  ENGRAVERS. 


Antiphilus,  a  painter  of  reputation,  though 
greatly  inferior  to  Apelles,  who  was  then  at  the 
court  of  Ptolemy,  accused  him  of  having  been 
implicated  in  the  conspiracy  of  Theodotus, 
governor  of  Phoenicia,  affirming  that  he  had  seen 
Apelles  at  dinner  with  Theodotus,  and  that,  by 
the  advice  of  that  painter,  the  city  of  Tyre  had 
revolted,  and  Pelusium  had  been  taken.  The 
accusation  was  totally  groundless,  Apelles  never 
having  been  at  Tyre,  and  having  no  acquaintance 
with  Theodotus.  Ptolemy,  however,  in  the  height 
of  liis  resentment,  without  examining  into  the 
affair,  concluded  him  guilty,  and  would  have 
punished  him  with  death,  had  not  an  accomplice 
of  the  conspirators  declared  his  innocence,  and 
proved  that  the  accusation  originated  in  the 
jealousy  and  malevolence  of  Antiphilus.  Stung 
with  confusion  at  having  listened  to  so  infamous 
a  slander,  Ptolemy  restored  Apelles  to  his  favour, 
presented  him  with  a  hundred  talents,  to  compen- 
sate for  the  injury  he  had  sustained,  and  con- 
demned Antiphilus  to  be  his  slave. 

On  his  return  to  Greece,  as  a  memorial  of  the 
persecution,  and  to  avenge  himself  of  his  enemies, 
Apelles  painted  an  allegorical  picture  representing 
'  Calumny,'  in  which  he  seems  to  have  exerted  all 
nis  inventive  faculties.  -  Of  this  ingenious  compo- 
sition, Lucian  has  furnished  us  with  the  following 
description  :  "  On  the  right  of  the  picture  was 
seated  a  person  of  magisterial  authority,  to  whom 
the  painter  has  given  large  ears,  like  those  of 
Midas,  who  held  forth  his  hand  to  Calumny,  as  if 
inviting  her  to  approach.  He  is  attended  by 
Ignorance  and  Suspicion,  who  are  placed  by  his 
side.  Calumny  advanced  in  the  form  of  a  beau- 
tiful female,  her  countenance  and  demeanour  ex- 
hibiting an  air  of  fury  and  hatred.  In  one  hand 
she  held  the  Torch  of  Discord,  and  with  the  other 
dragged  by  the  hair  a  youth,  personifying  Inno- 
cence, who,  with  eyes  raised  to  heaven,  seemed 
to  implore  the  succour  of  the  gods.  She  was  pre- 
ceded by  Envy,  a  figure  with  a  pallid  visage  and 
an  emaciated  form,  who  appeared  to  be  the  leader 
of  the  band.  Calumny  was  also  attended  by  two 
other  figures,  who  seemed  to  excite  and  animate 
her,  whose  deceitful  looks  discovered  them  to  be 
Intrigue  and  Treachery.  At  last  followed  Re- 
pentance, clothed  in  black,  and  covered  with  con- 
fusion, at  the  discovery  of  Truth  in  the  distance, 
environed  with  celestial  light."  Such  was  the 
ingenious  fiction  which  indicated  the  vengeance  of 
Apelles,  and  which  may  be  regarded  as  one  of 
the  most  admirable  examples  of  emblematical 
painting  that  the  history  of  the  art  affords. 
Raphael  made  a  drawing  from  Luoian's  description 
of  this  picture  ;  it  is  now  in  the  Louvre. 

It  was  customary  with  Apelles  to  exhibit  his 
pictures  publicly,  not  for  the  purpose  of  being 
flattered  with  the  incense  of  applause,  but  with  an 
intention  of  profiting  by  whatever  just  criticism 
might  be  made  on  the  work.  That  the  public 
might  feel  themselves  at  liberty  to  express  their 
sentiments  freely,  he  usually  concealed  himself 
behind  a  panel,  that  his  presence  might  not  be 
a  restraint  on  the  expression  of  their  judgment. 
On  one  of  these  occasions,  a  cobbler  found  fault 
with  some  incorrectness  in  the  representation  of  a 
slipper,  and  Apelles,  convinced  of  the  judicious 
observation  of  the  artisan,  made  the  necessary 
alteration.  The  picture  being  again  offered  to 
public  view  in  its  improved  state,  the  cobbler, 
proud  of  the  success  of  his  first  criticism,  ventured 


to  find  fault  with  the  leg,  when  Apelles,  discover- 
ing himself,  addressed  to  him  the  well-known 
sentence  which  has  since  become  proverbial,  Ne 
supra  crepidam  sutor.  The  modesty  of  this  great 
painter  was  not  less  worthy  of  admiration  than 
his  extraordinary  talents.  Far  from  being  jealous 
of  his  contemporaries,  he  not  only  extolled  their 
merit,  but,  favoured  as  he  was  by  fortune,  made 
use  of  his  wealth  in  promoting  the  interest  of  his 
rivals.  His  generous  conduct  to  Protogenes  is 
generally  known,  and  is  more  particularly  noticed 
in  the  account  of  that  painter.  Apelles  wrote  a 
work  on  painting,  which  has  unfortunately  been 
lost. 

APENS,  C,  a  Dutch  engraver,  who  worked  at 
Groningen  in  the  second  half  of  the  17th  century. 
He  engraved  the  portraits  of  Samuel  Maresius,  D.D., 
and  other  persons. 

APOLLODORUS,  a  Greek  painter,  was  a  native 
of  Athens,  and  flourished  about  B.C.  408.  He  was 
the  first  who  succeeded  in  the  blending  of  t<mes, 
and  in  the  distribution  of  light  and  shadow,  and 
may  be  called  the  inventor  of  cliiaroscuro.  Among 
his  works  is  mentioned  a  picture  of  '  Ajax  struck 
by  Lightning,'  which  was  formerly  at  Pergamus. 

APOLLONIO,  GlACOMO,  was  born  at  Bassano  in 
1582  or  1584.  He  was  the  grandson  of  Jacopo  da 
Ponte,  and  received  instruction  in  art  from  his 
uncles  Girolamo  and  Giambattista  da  Ponte.  His 
style  is  precisely  that  of  his  instructors,  and  his 
works  are  only  distinguished  from  theirs  by  a  less 
vigorous  tone  and  a  less  animated  touch.  In  the 
cathedral  at  Bassano  is  a  '  Magdalene '  by  this 
master ;  and  a  picture  of  '  Christ  on  the  Cross, 
adored  by  St.  Bonaventura,'  signed  and  dated  1611, 
is  in  the  church  of  the  Padri  Riformati ;  but  his 
most  esteemed  work  is  the  '  Martyrdom  of  St. 
Sebastian,'  in  the  church  dedicated  to  that  saint. 
He  died  In  1654,  and  was  buried  in  San  Francesco, 
in  Bassano. 

APONTE,  Pedbo  de,  (or  Ponte),  who  was  born 
at  Saragossa  in  the  beginning  of  the  15th  century, 
was  painter  to  John  II.  of  Aragon.  Ferdinand  V. 
took  him  to  Castile,  and  appointed  him  '  pintor 
de  camera'  in  1479.  He  is  said  to  have  studied  in 
Italy  under  Luca  Signorelli  and  Ghirlandaio.  He 
may  be  considered  one  of  the  founders  of  the 
school  of  Aragon.  He  painted  an  altar-piece  in 
the  parish  church  of  San  Lorenzo  at  Huesca. 

APOSTOOL,  CoRNELis,  a  Dutch  amateur  painter, 
and  engraver  in  aquatint,  was  born  at  Amsterdam 
in  1762.  He  visited  England,  but  returned  home 
in  1796,  and  was  in  1808  appointed  director  of  the 
Amsterdam  Museum,  wliioh  ofSce  he  held  until  his 
death  in  1844.  He  engraved  a  portrait  of  Lavinia 
Fenton,  afterwards  Duchess  of  Bolton,  after  Ho- 
garth, as  well  as  landscapes  for  the  '  Beauties  of 
the  Dutch  School,'  '  Select  Views  in  the  South  of 
France,'  '  Travels  through  the  Maritime  Alps,'  and 
Daniell's  'Views  of  Hindostan.' 

APPEL,  Jakob,  was  born  at  Amsterdam  in  1680. 
After  passing  some  time  under  Timotheus  de  Graaf, 
he  was  instructed  in  landscape  painting  by  David 
van  der  Plaas.  According  to  Descamps,  he  at  first 
imitated  the  works  of  Tenipesta,  but  changed  his 
manner,  and  adopted  that  of  Albert  Meijeringli. 
His  landscapes  are  not  without  merit ;  but  he  was 
more  successful  in  his  portraits.  He  died  in  1751 
at  Amsterdam. 

APPELIUS,  Jean,  who  was  bom,  it  is  said,  in 
Switzerland,  flourished  at  Middelburg  in  the  second 
half  of  the  18th  century  as  a  painter  of  portraits, 

47 


A  BIOGRAPHICAL  DICTIONARY  OF 


history,  and  landscapes.  His  productions  are  gener- 
ally large,  and  exhibit  much  artistic  talent. 

APPELMAN,  Barend,  was  born  at  the  Hague 
in  1640,  and  in  his  youth  visited  Italy.  His  land- 
scapes are  taken  iiom  the  ^dews  in  the  vicinity 
of  Rome.  In  1676  he  entered  the  Painters'  Guild  at 
the  Hague.  He  was  at  one  time  employed  by  the 
Prince  of  Orange,  and  decorated  a  saloon  in  the 
palace  at  Soestdijk  with  very  pleasing  landscapes 
painted  in  a  good  style,  and  well  coloured.  He 
also  painted  portraits,  and  put  in  the  landscape 
backgrounds  of  manj'  of  the  portraits  of  Jan  de 
Baan  and  others.    He  died  in  1686. 

APPELMANS,  G.,  was  a  native  of  Holland,  and 
flourished  at  Leyden  about  the  year  1670.  He 
was  chiefly  employed  in  engraving  portraits  and 
other  book-plates  for  the  pubhshers.  He  also 
engraved  the  portrait  of  Thomas  Barthohnus,  and 
the  plates  for  the  'Anatomia  Bartholiniana,'  pub- 
lished in  1674.  They  are  neatly  executed,  but 
in  a  stiff,  formal  style. 

APPERT,  Eugene,  who  was  born  at  Angers  in 
1814,  went  to  Paris  in  1837,  and  became  a  disciple 
of  Ingres.  He  painted  numerous  pictures  of  merit, 
among  which  are  a  portrait  of  '  Pope  Alexander  III. 
as  a  Beggar,'  which  is  now  in  the  Luxembourg ; 
'  Nero  before  the  dead  body  of  Agrippina,'  in  the 
Museum  of  Montauban,  and  several  pictures  of 
religious  subjects  in  the  hospital  of  Angers.  Ap- 
pert  painted  genre  and  historical  subjects,  and  also 
still-life.  He  was  a  Chevalier  of  the  Legion  of 
Honour.     He  died  at  Cannes  in  1867. 

APPIANI,  Andbea,  'the  elder,' who  was  born 
at  Milan  in  1754  (or  1761  ?),  excelled  both  in  fresco 
and  oil  painting.  In  his  style  there  is  much  origin- 
ality, and  a  gracefulness  which  approaches  that  of 
Correggio.  His  best  performances  in  fresco  are  to 
be  seen  in  the  palace  at  Milan  ;  they  have  been  en- 
graved by  Rosaspina  and  others.  Of  his  works  in 
oil,  '  Rinaldo  in  the  garden  of  Armida,'  '  Olympus,' 
and  '  Venus  and  Cupid,'  are  specimens  of  great 
beauty.  Napoleon  sat  to  him  for  his  portrait,  and 
appointed  him  his  painter.  A  portrait  of  '  Napoleon 
enthroned  between  Victory  and  Peace '  is  in  the 
Leuchtenberg  Gallery,  at  St.  Petersburg,  a  '  Boaz 
and  Ruth '  is  in  the  Belvedere,  at  Vienna.  At  the 
restoration  of  the  Bourbons  he  lost  his  pension,  and 
an  attack  of  apoplexy,  which  he  had  suffered  in 
1813,  having  rendered  it  impossible  for  him  to 
paint,  he  was  reduced  to  the  extremity  of  selling 
all  his  drawings  and  other  valuables  to  procure 
subsistence.  He  lived  in  this  condition  until  1817, 
when  another  attack  of  apoplexy  caused  his  death 
at  Milan.  He  was  a  member  of  the 
Legion  of  Honour,  and  a  knight  of  the  Af^ 
Iron  Crown.  IIW. 

The  following  works  are  also  by  him : 

Milan.     Gallery.  Portrait  of  Himself. 

„  „  Jupiter  crowned  by  the  Hours. 

„  „  Portrait   of  Bonifazio  Asioli,  musi- 

cian. 

„  „  Portrait  of  General  Charles-Antoine 

Desaix. 

„  „  Portrait  of  Napoleon  Buonaparte. 

„  „  Apollo  and  the  dying  Hyacinthus 

(fresco), 

„  „  Daphne  pursued  by  Apollo  (fresco). 

„  „  St.  John  the  Evangelist  (fresco). 

„  „  Apollo's  Chariot. 

APPIANI,  Andrea,  'the  younger,'  who  was  the 

great-nephew  of  the  painter  of  the  same  name,  was 

born  in  1817.     He  studied  at  Rome  under  Minardi 

and  Frans  Hayez,  and  became  a  good  historical 

48 


painter.  He  was  employed  by  the  King  of  Italy, 
the  Emperor  of  Austria,  and  other  personages  of 
celebrity.  Of  his  works  may  be  mentioned '  Petrarch 
and  Laura'  (1852);  '  Laban  and  Jacob,'  and  'La 
povera  Maria'  (1859).     He  died  in  1865. 

APPIANI,  Francesco,  was  born  at  Ancona  in 
1704,  and  was  a  scholar  of  Domenico  Simonetti, 
called  II  Magatta.  He  afterwards  studied  at  Rome, 
in  the  time  of  S.  Conca  and  Mancini — with  whom 
he  lived  in  habits  of  intimacy — and  acquired  a 
pleasing  and  harmonious  style.  Of  this  he  has 
given  proof  in  his  picture  of  'The  Death  of  St. 
Domenick,'  which  was  painted  by  order  of  Bene- 
dict XIII.  for  the  church  of  San  Sisto  Vecchio  in 
Rome,  and  procured  him  the  honour  of  a  gold 
medal  and  chain.  He  resided  the  greater  part 
of  his  life  at  Perugia,  where  he  decorated  the 
choir  of  the  cathedral,  and  many  of  the  churches. 
He  died  in  1792. 

APPIANI,  Niccol6,  (or  Appiano),  a  Milanese 
painter,  who  flourished  about  the  year  1510.  It 
is  said  that  he  was  a  scholar  of  Leonardo  da  Vinci, 
and  Cesariani  compares  him  with  the  greatest 
masters  of  the  age.  Two  works  in  the  Brera,  the 
'  Baptism  of  Christ,'  and  the  '  Adoration  of  the 
Magi,'  are  ascribed  to  Appiani. 

APPIER,  Jean,  called  Hanzelet,  an  engraver 
and  etcher,  flourished  in  Lorraine  in  the  first  half 
of  the  17th  century.  His  works,  which  are  exe- 
cuted in  Callot's  early  manner,  bear  dates  from 
1610  to  1630,  and  are  signed  with  the  initials 
I.  A.  H.  (Jean  Appier  Hanzelet),  or  /.  A.  (Jean 
Appier),  or  in  full  Besides  the  following,  he 
executed  various  engravings  of  pyrotechnic  instru- 
ments used  in  war  and  for  amusement. 

Portrait  of  Elis^e  de  Harancourt,  Governor  of  Nancy. 
Faict  a  Nancu  par  Jean  A^ier^  1610  (an  etching 
finished  leith  the  graver). 

Ornamental  Title-page  and  small  Views  of  a  Jonmal  of 
a  Travel  in  the  Levant. 

Title-page.    An  Allegory.    /.  A.  Sanzdet,  fecit,  1617. 

Missale  Komanum,  1621. 

APSCH,  Jebom  Andreas,  a  German  engraver 
on  wood,  Isorn  at  Nuremberg  about  the  year  1490. 
He  assisted  Hans  Burgkmair  in  executing  the 
woodcuts  for  a  book  published  at  Vienna,  entitled 
Der  Weyss  Kunig,  or  '  The  Wise  King,'  contain- 
ing the  principal  events  of  the  life  and  reign  of 
the  Emperor  Maximilian  I.     He  died  in  1556. 

APSHOVEN.  Concerning  a  family  of  artists 
of  this  name  much  uncertainty  has  been  expressed. 
The  two  brothers,  Thomas  (miscalled  Theodor), 
and  Ferdinand,  have  been,  by  some,  considered  to 
be  the  same  man.  As  regards  the  spelling  of  the 
surname,  it  is  sometimes  found  Apshoven,  and 
sometimes  Abshoven  or  Abtshoven,  but  the  first 
seems  to  be  the  most  correct  form. 

The  following  are  the  members  of  the  Apshoven 
family  who  practised  art  at  Antwerp  in  the  16th 
and  17th  centuries.  Some  are  too  unimportant  for 
separate  notices. 

Ferdinand  L   (       — ab.  1618). 

Ferdinand  II.  (1676— 165«). 

. \ , 


Thomas  (1622—1664-6). 


Ferdinand  III.  (1630— 16M). 
I 
Ferdinand  IV.  (1649-       ).     Willem  (1664—       ). 

Waagen  mentions  a  Michael  van  Apshoven,  but 
he  is  not  recorded  by  any  other  author.  The 
information  given  below  is  taken,  in  a  great 
measure,  from  Meyer's  '  Kiinstler-Lexikon.' 

APSHOVEN,  Ferdinand  van,  'the  elder,'  is 
recorded  to  have  been  baptized  at  Antwerp,  on  tlie 


PAINTERS  AND  ENGRAVERS. 


17th  of  May,  1576.  In  1592-93  he  entered  the 
atelier  of  Adam  van  Noort,  and  in  1596-97  he  was 
free  of  the  Guild  of  Painters  of  that  city.  He  was 
both  an  historical  painter  and  a  portraitist ;  but  no 
work  by  him  exists.  That  lie  was  successful  as  a 
teacher  in  art  is  evident,  for  the  records  of  the 
Guild  mention  seven  pupils  of  his.  He  died  in 
1654  or  1655. 

APSHOVEN,  Ferdinand  van,  'the  younger,' 
son  of  the  painter  of  the  same  name,  and  brother 
of  tlie  more  celebrated  Thomas,  was  baptized  in 
1630.  He  was  a  pupil  of  Teniers  the  younger, 
and  in  1657-58  he  was  admitted  to  the  Antwerp 
Guild  as  a  master's  son.  In  1664  he  took  tlie  oath 
as  Captain  in  the  13th  Division  of  the  '  Civic- 
guard.'  In  1678-79  he  was  offered,  but  declined  to 
accept,  the  office  of  Dean  to  the  Guild.  In  1694  he 
died,  and  was  buried  in  the  church  of  St.  Walburg, 
in  Antwerp.  Ferdinand  van  Apshoven's  pictures, 
like  those  of  his  brother,  closely  resemble  the 
style  of  Teniers,  under  wliose  name  many  of  them 
have  passed.  An  Interior,  with  two  figures — 
almost  equal  to  a  Teniers — is  in  the  Rotterdam 
Museum ;  another  Chamber,  with  three  figures, 
is  in  the  Museum  at  Dunkirk  ;  and  a  third,  '  Peas- 
ants in  a  Tavern,'  is  in  the  possession  of  M.  van 
Lerius,  of  Antwerp. 

APSHOVEN,  Thomas  van  (miscalled  Theodor), 
son  of  Ferdinand  the  elder,  was  baptized  at  Ant- 
werp on  the  30th  of  November,  1622.  He  became 
the  favourite  pupil  of  David  Teniers  the  younger, 
whose  style  he  imitated  with  much  success.  We 
find  various  records  of  Apshoven.  In  1652  he 
took  the  oath  as  standard-bearer  in  the  6th  Division 
of  the  Civic-guard,  and  in  1657  he  was  made 
Captain  of  the  8th  Division.  His  death  occurred 
between  the  18th  of  September,  1664,  and  the 
same  day  in  the  following  year.  Apshoven' s  pic- 
tures, like  those  of  his  master,  represent  village 
festivals,  the  interiors  of  cabarets,  with  peasants 
regaling  and  amusing  themselves,  corps-de-g.irdes, 
and  chemists'  laboratories,  in  all  of  which  he  ap- 
proached so  near  to  the  admirable  style  of  his 
instructor,  that  his  pictures  may  easily  be  mis- 
taken for  those  of  Teniers.  His  touch  is  un- 
commonly light  and  spirited,  and  his  colouring 
clear  and  silvery.  The  works  of  this  painter  are 
frequently  met  with  in  Flanders,  where  they  are 
judged  worthy  of  being  placed  in  the  best  collec- 
tions. The  Dresden  Gallery  has  a  picture  of 
fruits,  &c.,  by  him,  signed  '  T.  v.  apshoven.'  The 
Darmstadt  Gallery  has  a  Landscape,  painted  in 
1656;  the  Cassel  Gallery  'Dancing  Pea.sants ; ' 
and  the  Prague  Gallery,  an  Interior,  by  Apshoven. 

AQUA,  Cristoforo  dall'.     See  Dall'  Acqha. 

AQUILA,  Arnoud.     See  Halen. 

AQUILA,  Francesco  Faraone,  an  eminent 
Italian  engraver,  was  the  nephew  (not  the  brother) 
of  the  celebrated  Pietro  Aquila  :  he  was  born  at 
Palermo  about  1676,  and  established  himself  at 
Rome  about  the  year  1690  and  laboured  there  till 
about  1740.  His  engravings  are  numerous,  and 
some  of  them  highly  esteemed.  His  style  of  exe- 
cution is  perhaps  neater  than  that  of  Pietro,  but  he 
is  very  inferior  to  him  in  correctness  of  drawing 
and  expression.  He  sometimes  worked  with  the 
graver  only,  but  his  plates  in  that  way  are  cold, 
wanting  in  effect,  and  by  no  means  equal  to  those 
in  which  he  called  in  the  assistance  of  the  point 
Some  of  his  prints  are  after  his  own  designs. 
Among  his  works  is  a  set  of  nineteen  large  plates 
of  the  '  Stanze '  of  the  Vatican,  after  Raphael, 


entitled  Picturae  Sanctij  Urhinatis   ex   Aula   et 
Oo?idavibus    Palatii    Vaticani   (1722)  ;    also   as 
below : 
St.  EosaUa ;  from  his  own  design. 
Mars,  with  his  armoiir  hung  on  a  tree  •  the  same. 
The  Cardinal  Casini  ;  after  Vicinelli. 
The  Cardinal  Giuseppe  Maria  de  Thomasijs ;  after  F. 

Nelli. 
La  Vierge  au  Panier  ;  after  Correggio. 
The  Last  Supper  ;  after  Albani.     1711. 
The  First  Vault  in  the  Vaticsm ;   after  Ciro  Fern ; 

1696 ;  circular. 
Two  cupolas,  one  in  the  chapel  of  the  Holy  Sacrament, 

and  the  other  in  the  church  of  San  Sebastian  ;  after 

Pietro  da  Cortona  ;  circular. 
Another  cupola,  in  the  Chiesa  Nuova ;  after  the  same 

painter;  circular. 
A  "Warrior,  to  whom  Mars  offers  a  sword,  and  Minerva 

a  crown  of  laurel ;  after  Ant.  Bonjiyli. 
The  Victory  of  Constantine  over  Maxentius ;  after  And. 

Camassei. 
The  Triumph  of  Constantine  ;  after  the  same. 
The  dead  Saviour  in  the  lap  of  the  Virgin  Mary,  with 

St.  Mary  Magdalene,  and  St.  Francis  ;  after  C'arraeci. 
A  Bishop  announcing  to  the  Virgin  Mary  the  arrival  of 

the  body  of  St.  Helena. 
The  Eepose  in  Egypt,  with  St.  Joseph  at  work  in  the 

background. 
The  Bark  of  St.  Peter ;  after  Lanfranco. 
Our  Saviour  with  a  Glory,  the  Virgin  Mary,  St.  Am- 
brose, and  St.  Charles  Borromeo  ;  after  Carlo  Maratti. 
Three  large  prints — Of  the  vault  of  St.  Francis  Xavier 

at  Naples ;  after  Fa^lo  de  Mattei. 
Venus  showing  the  arms  to  .^neas,;  after  IV.  Foitssin. 

AQUILA,  Giorgio,  called  '  Maestro  Giorgio  da 
Firerize,'  flourished  from  1314  to  1325.  He  was  a 
native  of  Florence,  and  is  said  to  have  been  the 
first  Italian  artist  who  used  nut  oil  in  painting. 

AQUILA,  Pietro,  the  uncle  of  Francesco,  was 
born  at  Marsala,  near  Palermo,  probably  between 
1640  and  1645.  The  early  part  of  his  life  was 
passed  in  &  seminary,  preparatory  to  his  devoting 
himself  to  an  ecclesiastical  life  ;  and  on  his  arrival 
at  Rome  he  actually  became  a  monk,  which  seclu- 
sion, however,  did  not  prevent  his  following  his 
natural  inclination  for  art.  He  died  toward  the 
close  of  the  17th  century.  According  to  Baldinucci 
he  was  a  respectable  painter,  but  his  reputation 
has  reached  a  higher  rank  as  an  engraver.  His 
drawing  is  extremely  correct,  and  he  etched  his 
plates  in  a  bold  and  free  manner.  His  best  prints 
are  those  he  engraved  after  the  Carracci,  which  are 
veiy  highly  esteemed,  and  the  five  mentioned 
below  after  Pietro  da  Cortona  are  very  fine.  The 
number  of  his  plates  is  very  considerable, 
some  of  which  are  engraved  from  his  own  iV 
compositions  :  viz.  -L  A. 

SDBJECTS   AFTER   HIS   OWN    DESIGNS. 
The  Adoration  of  the  Magi. 
The  Flight  into  Egypt ;  dedicated  to  B.  C.  de  Vingte- 

milliis. 
The  Holy  Family,  with  St.  John  kissing  the  foot  of  our 

Saviour. 
Lions  fighting ;  an  emblematical  subject ;  inscribed  spes 

suscitat  iras. 
Fourteen  plates  containing  160  medallions  of  Roman 

Emperors,  from   medals   in    the    cabinet  of   Queen 

Christina  of  Sweden. 

SDBJECTS   after   ITALIAN   MASTERS. 
St.  Luke,  Patron  of  the  Academy ;  after  Lazzaro  Baldi. 
Sacrifice  of  Polyxena  ;  after  Fietro  da  Cortona. 
Xenophon  returned  from  the  Chase  ;  after  the  same. 
The  Rape  of  the  »Sabines ;  after  the  same. 
The  Battle  of  Arbela ;  after  the  sam». 
The  Triumph  of  Bacchus ;  after  the  same. 
Moses  and  the  Daughters  of  Jethro  ;  after  Ciro  Ferri, 
Moses  striking  the  Rock  ;  after  the  same. 
The  Virgin  Mary  appearing  to  St.  Alexis ;  after  the  same. 

49 


A  BIOGRAPHICAL  DICTIONARY  OF 


The  Vestals  keeping  up  the  sacred  fire  ;  after  the  same. 

La  Vierge  au  Kstolet ;  after  Carlo  Maratti. 

The  Triumph  of  Religion ;  after  the  same. 

St.  Luke  showing  the  Virgin"  Mary  the  portrait  he  had 
painted  of  her  ;  after  the  same. 

The  Death  of  the  Virgin  ;  after  Morandi. 

The  Bible  of  Raphael,  a  set  of  fifty-two  prints;  en- 
titled Imagines  Veteris  ac  Son  Testamenti.  Cesare 
Fantetti  engraved  thirty-seven  of  the  prints  in  this 
Bible ;  the  remaining  fifteen  are  by  Pietro  Aquila, 
and  are  very  superior  to  those  of  Fantetti. 

The  Famese  Gallery,  in  twenty-five  plates,  with  the 
statues  and  ornaments. 

The  Chamber  of  the  Palace  Famese,  in  thirteen  plates ; 
inscribed  Imagines  Farnesiani  Cubiculi. 

The  Assembly  of  the  Gods,  from  the  painting  by  Laii- 
franco,  in  the  Villa  Borghese  at  Rome  ;  in  nine  plates. 

There  are  some  other  plates  by  this  artist,  which 
will  be  found  described  in  the  '  Dictionnaire  des 
Artistes,'  by  Heineken,  and  in  Meyer's  '  AUge- 
meines  Kiinstler-Lexikon.' 

AQUILA,  PoMPEO  dall'.    See  Dall'  Aquila 

AQUILIO,  Antonio,  called  Antoniasso,  Anto- 
NIACCI,  or  Antonazo,  was  a  painter  who  flourished 
in  Rome  in  the  latter  part  of  the  15th  century. 
He  was  much  employed  for  the  churches  and  con- 
vents ;  but  his  style  was  only  mediocre.  A  paint- 
ing by  him  of  the  year  1464  is  in  the  sacristy  of 
the  convent  of  Sant'  Antonio  del  Monte  at  Rieti. 
It  represents  the  Madonna  and  Child  with  SS. 
Anthony  and  Francis.  Another,  of  the  year  1483, 
is  in  the  cathedral  of  Velletri,  and  a  third  is  in 
the  catliedral  of  Capua.  It  was  executed  in  1489 
for  Girolamo  Gaetano,  Archbishop  of  Capua,  and 
bears  the  following  inscription:  antonatids  ko- 
MAKUS  M.  FOE.  P.  MCCCCLXSXix.  It  has  been  much 
injured  by  restoration.    Antoniasso  died  about  1500. 

AQUILIO,  Marco,  a  son  of  Antonio  Aquilio,  is 
the  author  of  the  '  Resurrection,'  still  preserved  in 
the  refectory  of  the  convent  of  Santa  2hiara,  at 
Rieti.  The  predella  contains  scenes  drawn  from 
the  Passion  ;  on  the  border  of  one  of  them  can  be 
read,  Marcus  Antonius  MagS  Antonatii  romanus 

DEPINXIT  M.D.X.L. 

ARAGON,  Juan  de,  an  historical  painter  who 
resided  at  Granada  in  1580,  and  was  one  of  the 
distinguished  professors  who  ornamented  the 
beautiful  monastery  of  St.  Jerome. 

ARALDI,  Alessandro,  who  was  bom  at  Parma 
about  the  year  1466,  studied  under  Cristoforo 
Caselli,  of  the  school  of  Giovanni  Bellini.  He 
painted  liistory  in  a  style  which  Lanzi  denomin- 
ates antico  modemo.  In  the  Parma  Gallery  is  a 
picture  by  this  master,  representing  the  'Annuncia- 
tion,' which  is  mentioned  as  a  very  creditable  per- 
formance ;  and  in  the  cathedral  there  is  a  fresco, 
executed  by  him  in  1509,  of  the  '  Virgin  and  Child, 
with  St.  Joseph.'  The  churches  of  his  native  city 
contain  works  by  him.     He  died  in  or  after  1530. 

ARBASIA,  Cesare,  a  native  of  Saluzzo,  and  a 
pupil  of  Federigo  Zuccaro,  flourished  towards  the 
close  of  the  16tli  century.  He  visited  Spain 
during  the  reign  of  Philip  II.,  and  there  executed 
some  important  works.  His  style  is  an  imitation 
of  the  works  of  Leonardo  da  Vinci,  and  he  is  incor- 
rectly stated  to  have  been  his  scholar.  His  chief 
excellence  was  in  fresco  painting,  to  which  the 
ceiling  of  the  church  of  the  Benedictine  monks  at 
Savigliano,  the  work  in  the  Palazzo  Pubblico  of  his 
native  town,  and  other  considerable  paintings,  bear 
testimony.  He  was  an  artist  of  great  ability,  and 
painted  some  excellent  pictures  at  Malaga  and  Cor- 
dova, in  fresco  and  oil.  For  a  picture  of  the  '  In- 
carnation,' and  some  other  works  in  the  cathedral 

50 


of  Malaga,  he  was  paid  three  thousand  ducats.  At 
Cordova,  in  1583,  he  painted  in  fresco,  in  the  sanc- 
tuary of  the  cathedral,  the  martyrs  of  that  place. 
Leaving  Spain,  probably  with  Federigo  Zuccaro, 
his  former  master,  he  went  to  Rome,  and  was 
one  of  the  founders  of  the  Academy  of  St.  Luke, 
of  which  Zuccaro  was  the  first  president.  He  is 
said  to  have  died  in  Spain  in  1614,  and  is  ranked 
by  Palomino  and  Cean  Bermudez  among  the  Span- 
ish painters.  Palomino's  account  of  this  painter  is 
incorrect  in  almost  every  statement. 

ARBO,  Peter  Nikolai,  was  born  at  Drammen, 
Norway,  in  1831.  He  was  a  pupil  in  Copenhagen 
of  Helsted,  and  studied  from  1852  at  the  Dtisseldorf 
Academy  under  Karl  Sohn,  and  in  Paris  1861-70. 
He  was  afterwards  director  of  the  drawing  school 
at  Christiania,  where  he  died  in  1892.  Among 
his  pictures,  which  generally  represent  northern 
legend  and  historical  scenes,  the  principal  are 
'The  Walkyries,'  'Asgards  Reigen,'  and  'The  Wild 
Chase'  in  the  National  Gallery,  Christiania.  Others 
are  'Ingeborg,'  'Bjarke's  and  Hjalte's  Death,'  'The 
Day,"Scenes  from  the  Thirty  Years'  War,'  'Scenes 
from  the  Time  of  Louis  XIV.,'  and  'The  Battle 
of  Waterioo.' 

ARBOS  T  AYERBE,  Ma-SUEL,  who  was  a  good 
Spanish  miniature  painter,  was  sent  to  Rome  by 
Ferdinand  VII.,  and  was  subsequently  court- 
painter  to  Isabella  II.     He  died  at  Madrid  in  1875. 

ARCA,  Leonardo  dell'.     See  Dell'  Arca. 

ARCAGNUOLO  (Arcagnolo,  or  Arcagno). 
See  Cione,  Andrea  di. 

ARCHER,  John  Wtkeham,  was  bom  at  New- 
castle-upon-Tyne, in  1808.  In  1820  he  came  to 
London,  and  became  a  pupil  of  John  Scott,  the 
celebrated  engraver  of  animals.  In  1827  he  pro- 
duced in  Newcastle  a  series  of  large  etchings  of 
Fotmtains  Abbey  in  Yorkshire,  and  etchings  of  the 
Abbey  Church,  and  Abbot's  Tower  at  Hexham. 
He  then  removed  to  Edinburgh,  where  he  made 
a  collection  of  drawings  of  the  ancient  edifices 
and  streets  of  that  town,  after  which  he  returned 
to  London,  and  entered  the  studio  of  Messrs.  W. 
and  B.  Finden,  in  order  to  improve  himself  in 
engraving  upon  steel.  Having  been  elected  a 
member  of  the  New  Society  of  Painters  in  Water 
Colours,  he  produced  a  series  of  drawings  of  St. 
Mary  Overy,  previous  to  its  restoration,  and  of 
Lambeth  Palace  in  all  its  parts.  Archer  was 
the  author  of  '  Vestiges  of  Old  London,'  a  large 
quarto  volume,  illustrated  by  etchings  ;  likewise 
of  a  series  of  papers  in  Douglas  Jerrold's  Maga- 
zine, entitled  '  The  Recreations  of  Mr.  Zigzag  the 
Elder,'  and  of  numerous  contributions  to  different 
journals.  His  principal  drawings  are  a  series, 
some  hvmdreds  in  number,  of  the  ancient  remains 
of  London  and  its  vicinity,  in  the  William 
Twopenny  collection,  and  a  series  of  the  an- 
tiquities of  his  native  county  of  Northumberland, 
in  the  collection  at  Alnwick  Castle.  He  also 
claimed  to  have  revived  the  ancient  practice  of 
engraving  on  monumental  brass,  and  produced 
several  large  monuments  of  this  description  from 
his  own  designs.  He  likewise  painted  a  few  works 
in  oil.     He  died  May  25,  1864. 

ARCHIMEDES.     See  Genoels. 

ARCIMBOLDO,  Giuseppe,  was  born  at  Milan  in 
1533.  He  excelled  in  painting  the  interiors  of 
kitchens,  with  fruit,  vegetables,  culinary  utensils, 
&c.,  and  occasionally  introduced  into  his  pictures 
grotesque  figures  and  drolleries,  formed  of  flowers 
and   fruits,   which   at   a   distance   appeared   like 


PAINTERS  AND  ENGRAVERS. 


human  figures.  He  was  a  favourite  artist  of  the 
Emperors  Maximilian  II.  and  Rudolph  II.,  in 
whose  service  he  was  employed  the  greater  part  of 
his  life.  He  died  at  Milan  in  1593.  Four  works 
hy  him  are  in  the  Belvedere  at  Vienna — 'Summer' 
and  '  Winter,'  which  he  painted  in  1563  ;  '  Fire  ' 
three  years  later  ;  and  '  Water.' 

AECIONI,  Daniele,  (or  Cibcioni,)  a  worker  in 
niello,  who  is  highly  praised  by  Ambrogio  Leone, 
is  little  known  in  the  history  of  the  arts.  He 
appears  to  have  been  a  contemporary  of  Maso 
Finiguerra  and  other  eminent  nielloiori.  He 
flourished  at  Milan  about  1500. 

AECO,  Alonso  del.    See  Del  Akco. 

AEDEMANS,  Teodoro,  an  eminent  architect 
and  painter,  was  born  at  Madrid  in  1664,  and 
studied  painting  in  the  school  of  Claudio  Coello. 
His  father  was  a  German.  As  he  chiefly  followed 
architecture,  his  works  as  a  painter  were  few,  but 
the  fresco  of  the  '  Apotheosis  of  St.  Francis  '  with 
which  he  ornamented  tlie  vault  of  the  sacristy  of 
San  Francisco  at  Madrid  was  considered  a  master- 
piece. No  painting  by  him  now  remains.  He  was 
made  painter  to  the  king  in  1704,  and  held  that 
post  till  his  death,  which  took  place  at  Madrid  in 
1726.  He  designed  the  celebrated  frontispiece  to 
the  'Diario  de  los  Viages  de  Felipe  V.,'  which  was 
engraved  by  Edelinck ;  and  it  is  said  that  he  him- 
self practised  the  art  of  engraving. 

ARDENTE,  Alessandeo,  a  Piedmontese  painter, 
who  appears,  from  the  dates  on  his  pictures,  to 
have  flourished  from  the  year  1565  to  1592.  In 
the  church  of  San  Paolo,  at  Lucca,  is  a  picture  of 
St.  Antonio  Abate,  signed,  and  bearing  the  former 
date ;  and  at  Moncaliere,  near  Turin,  an  altar- 
piece  of  the  'Adoration  of  the  Magi,'  with  the 
latter.  At  Turin,  in  the  Monte  della  Pieta,  is  a 
picture  of  the  '  Conversion  of  St.  Paul,'  by  Ardente, 
painted  with  a  grandeur  of  style  that  would  in- 
duce us  to  think  he  was  educated  in  the  Roman 
school.  He  was  painter  to  Duke  Charles  Emmanuel 
of  Savoy,  in  whose  service  he  died  in  1595. 

AREGIO,  Pablo  de,  (Arigo,  or  Arregio,)  is 
named  among  the  Spanish  painters,  but  it  is  more 
than  probable  that  he  was  an  Italian,  as  his  name 
impoils  (Paolo  da  Reggio,  or  Arezzo).  He  painted, 
in  1506,  in  conjunction  with  Francesco  Neapoli, 
the  doors  of  the  high  altar  of  the  cathedral  of 
Valencia,  with  subjects  from  the  Life  of  the  Virgin, 
which  are  admired  for  correct  design,  noble  charac- 
ter, grandeur  of  form  and  expression,  and  all  those 
fine  qualities  in  art  that  belong  to  the  school  of 
Leonardo  da  Vinci,  of  whom  both  the  painters  are 
supposed  to  have  been  pupils. 

ARELLANO,  Jose  de,  a  Spanish  flower  painter 
of  the  18th  century,  is  represented  in  the  Madrid 
Gallery  by  two  works. 

ARELLANO,  Jdan  de,  born  at  Santorcaz  in 
1614,  was  a  scholar  of  Juan  de  Solis,  but  not  suc- 
ceeding in  the  higher  brandies  of  art,  he  copied 
the  flower-pictures  of  Mario  di  Fiori,  and  after- 
wards by  attention  to  nature  became  very  eminent 
in  that  department.  His  pictures  are  highly 
esteemed  in  Spain,  and  are  to  be  found  in  most  of 
the  collections.  There  are  six  flower-pieces  by  him 
in  the  Madrid  Gallery.    lie  died  at  Madrid  in  1676. 

ARELLIUS  was  a  painter  of  some  celebrity,  at 
Rome,  a  short  time  before  the  reign  of  Augustus. 
From  the  manner  in  which  he  is  mentioned  by 
Pliny,  he  must  have  possessed  considerable  ability. 
That  writer  reproaches  him  severely  for  having 
selected,  as  the  models  for  his  goddesses,  the  most 


celebrated  courtesans  of  his  time ;  a  reproach 
which  he  never  thought  of  making  to  some  of  the 
greatest  artists  of  Greece,  who  constantly  availed 
themselves  of  the  same  practice. 

ABENDS,  Jan,  born  at  Dordrecht  in  1738,  was 
a  brother  of  the  poet  Eoelof  Arends.  He  was 
a  pupil  of  J.  Ponse,  and  painted  landscapes  aiid 
marine  subjects.  He  laboured  many  years  at 
Amsterdam  and  Middelburg,  but  returned  event- 
ually to  Dordrecht,  where  he  died  in  1805.  He 
was  well  skilled  in  perspective,  and  practised 
engraving. 

ARENIUS,  Olof,  a  Swedish  portrait  painter, 
and  son  of  a  minister  in  Upland,  was  bom  in 
1701.  He  studied  under  David  von  KrafEt,  and 
afterwards  went  to  the  Netherlands  to  study  the 
old  masters.  His  portraits  and  miniatures  in  oil 
are  much  esteemed,  and  are  to  be  found  in  all  the 
public  galleries,  as  well  as  in  the  best  private  col- 
lections, in  Sweden.  Many  of  them  have  been 
engraved.     He  died  at  Stockholm  in  1766. 

ARETINO.     See  Spinelli. 

ARETUSI,  Cesare,  was  a  native  of  Bologna, 
where  he  flourished  in  the  second  half  of  the  16th 
century.  It  is  not  said  under  whom  he  studied, 
but  he  formed  his  style  from  the  works  of  Bagna- 
cavallo.  In  conjunction  with  Giambattista  Piorini, 
he  painted  the  cupola  of  the  cathedral  of  San  Pietro 
at  Bologna.  Aretusi  died  in  1612.  His  portraits 
are  very  highly  esteemed,  and  his  great  success  in 
that  line  accounts  for  his  having  executed  so  few 
historical  works.  Several  of  the  most  illustrious 
personages  of  his  time  sat  to  him,  and  his  portraits 
have  a  beauty  of  colour  and  a  breadth  that 
remind  us  of  the  works  of  Correggio.  Lanzi  ob- 
serves that  he  was  distinguished  as  a  colourist  in 
the  Venetian  taste,  but  in  point  of  invention 
weak  and  dull,  while  Giambattista  Fiorini,  on  the 
other  hand,  was  full  of  fine  conceptions,  but 
worthless  in  his  colouring.  These  two  artists 
formed  an  intimate  friendship,  and  by  uniting 
their  powers  produced  paintings  of  considerable 
merit.  The  following  works,  entirely  executed 
by  Aretusi,  are  at  Bologna  :  in  San  Benedetto,  a 
'  Deposition  from  the  C!ross ;  '  in  San  Francesco, 
an  'Annunciation,'  and  a  'Conception;'  in  San 
Giovanni  in  Monte,  '  The  Birth  of  the  Virgin ; '  in 
the  Theatine  Church,  '  St.  Bartholomew  ;  '  in  Santa 
Maria  della  Cariti,  a  '  Madonna,  with  Charity 
and  St.  Francis.'  He  could  assume  the  style  of 
almost  any  painter,  and  even  pass  ofE  his  imita- 
tions for  originals.  Those  of  Correggio  were  par- 
ticularly successful,  and  he  received  a  commission 
to  execute  a  copy  of  the  celebrated  '  Notte,'  by 
that  master,  for  the  church  of  San  Giovanni  in 
Parma.  Mengs,  who  saw  it,  declared  that  were  the 
original  at  Dresden  by  any  accident  lost,  it  might 
be  well  replaced  by  so  fine  a  replica.  This  per- 
formance obtained  for  him  the  honour  of  copying 
the  painting  executed  by  Correggio  for  the  tribune 
of  the  same  church,  which  had  been  removed  to 
extend  the  choir  ;  and  that  picture,  says  Ruta,  in 
his  Guida,  from  its  accurate  imitation  of  the  taste 
displayed  in  the  original,  of  its  conception  and  of 
its  harmony,  led  those  unacquainted  with  the  fact 
to  suppose  it  to  be  the  work  of  Allegri.  This  is 
confirmed  by  Pungileoni  in  his  '  Memorie  istoriche 
di  Antonio  Allegri,  detto  II  Correggio.' 

ARETUSI,  Pellegbino  de,  (generally  called 
Pellegrino  Munari,  and  also  Pellegrino  da 
Modena,)  was  instructed  in  painting  by  his  father, 
Giovanni,  who  flourished  at  Modena  in  the  latter 

51 


A  BIOGEAPHICAL  DICTIONARY  OF 


part  of  the  15th  century.  In  1509  he  painted 
an  altar-piece  for  the  hospital  of  Santa  Maria  de' 
Battii  (afterwards  Santa  Maria  della  Neve),  which 
gained  him  great  reputation.  The  celebrity  of 
Raphael,  then  in  the  zenith  of  his  fame,  drew 
him  to  Rome,  where  he  had  the  advantage  of 
being  admitted  into  the  school  of  that  inimitable 
painter.  Hie  talent  was  soon  discovered  by  his 
able  instructor,  and  he  was  selected  by  him  to 
assist  in  the  great  works  he  was  then  engaged  on 
in  the  Vatican.  He  was  entrusted  to  paint,  from 
the  designs  of  Raphael,  the  '  Histories  of  Jacob  and 
Solomon, 'which  he  executed  entirely  to  the  satisfac- 
tion of  his  master.  Besides  these,  he  painted  some 
pictures  of  his  own  composition  for  the  churches 
at  Rome,  particularly  in  Sant'  Eustachio  (now 
perished),  and  in  San  Giacomo  degli  Spagnuoli, 
where  he  painted,  in  fresco,  the  life  of  St.  James. 
After  the  death  of  Raphael  he  returned  to  Modena, 
where  he  was  employed  on  several  of  the  public 
edifices,  and  painted  in  the  church  of  San  Paolo 
his  celebrated  picture  of  the  '  Nativity  of  Christ,' 
which  was  designed  with  all  the  grace  and  dignity 
of  his  great  teacher.  He  also  painted  the  '  Adora- 
tion of  the  Magi,'  in  San  Francesco,  and  the  '  Coro- 
nation of  the  Virgin,'  in  the  church  of  the  Servites. 
This  eminent  artist  was  high  in  the  public  esteem, 
and  in  the  midst  of  a  brilliant  career,  when  the 
world  was  deprived  of  his  talents  by  an  unforeseen 
and  dreadful  catastrophe.  His  son  happened  to 
have  a  quarrel  with  one  of  his  companions,  which 
ended  in  the  death  of  his  antagonist.  Pellegrino, 
apprised  of  the  fatal  accident,  ran  out  into  the 
street,  to  endeavour  to  save  his  son  from  the  pursuit 
of  justice  ;  he  was  encountered  by  the  relatives  of 
the  deceased,  who  fell  upon  him  with  the  greatest 
fury,  and  killed  him.  This  tragical  event  hap- 
pened in  1523.  No  scholar  of  Raphael  approached 
nearer  to  him  in  the  sublime  character  of  his 
heads,  and  the  grandeur  of  his  forms. 

AREVALO,  J.  C.  DE.     See  Cano. 

AREZZO,  Jacopino  da,  a  miniature  painter  of 
the  15th  century,  illustrated,  about  1435,  a  Bible, 
Prayer-book,  &c.,  for  the  Marchese  da  Ferrara,  and 
shortly  afterwards  the  '  Commentaries '  of  Cjesar 
and  a  '  Theseus,'  the  works  of  Albertus  Magnus, 
a  Psalter,  and  a  book  of  love-songs. 

AREZZO,  MoNTANO  d'  ,  flourished  about  the  end 
of  the  13th,  and  the  commencement  of  the  14th, 
centuries.  In  1305  he  painted  two  chapels  of  the 
Castel  Nuovo,  and  in  1306  two  chapels  of  the 
Castel  del  Uovo,  at  Naples.  He  was  a  favourite  of 
King  Robert,  who  knighted  him  in  1310.  The 
chapel  of  the  Monastery  of  Monte  Vergine,  near 
Avellino,  has  a  picture  of  the  Madonna  said  to  be 
by  him.  The  Dormitory  dei  Giovannetti  of  the 
Seminario  Urbano,  at  Naples,  has  a  half-length 
picture  of  a  Bishop  by  him.  The  dates  of  Montano 
d'Arezzo's  birth  and  death  are  no  longer  known, 
and  little  can  now  be  found  belonging  to  this  artist. 

ARFIAN,  Antonio  de,  a  native  of  Triana,  a 
suburb  of  Seville,  studied  under  MuriUo  and  Luis 
de  Vargas.  He  was  employed  on  several  import- 
ant works,  both  in  fresco  and  in  oil ;  among 
which  was  the  grand  altar-piece  of  the  cathedral 
which  he  painted  in  1554,  in  concert  with  Antonio 
Ruiz.  Neither  the  date  of  his  birth  nor  that  of 
his  death  has  been  mentioned  by  any  writer,  but 
he  was  still  living  in  1587,  in  which  year,  with  his 
son  Alonzo's  assistance,  he  painted  the  '  Legend 
of  St.  George,'  in  the  church  of  the  Magdalene. 

ARGEN'TO,  Antonio  call'.    See  Aleotti. 

52 


ARGUELLO,  Joan  Bautista,  painted  still-life 
in  the  cathedral  at  Seville,  in  1594.  Nothing 
further  is  known  of  him. 

ARIAS  FERNANDEZ,  Antonio,  an  histori- 
cal painter,  was  born  at  Madrid  about  1620,  and 
studied  under  Pedro  de  las  Cuevas.  At  the  age  of 
fourteen  he  painted  the  great  altar-piece  of  the  Car- 
melite monastery  at  Toledo.  This  gained  him  much 
credit ;  yet,  far  from  being  inflated  by  the  praises 
he  received,  he  pursued  his  studies  with  great 
assiduity,  and  at  the  age  of  twenty-five  was  one 
of  the  best  painters  at  Madrid.  The  Duke  of 
Olivarez  selected  him  to  paint  the  series  of  por- 
traits of  the  kings  and  queens  of  Spain  which  were 
in  the  old  palace  at  Madrid.  His  death  occurred 
in  that  city  in  1684.  The  Madrid  Museum  has  by 
him  '  Christ  with  the  tribute  money,'  and  '  Charles 
V.  and  Philip  II.  of  Spain,  seated  on  a  throne.' 
He  left  a  daughter,  who  practised  portrait-painting 
with  success. 

ARIDICES,  of  Corinth,  was,  with  Telephanes, 
the  first  to  improve  upon  the  earliest  essays  of 
Greek  artists,  which  consisted  in  tracing  a  simple 
outline.  Aridices  introduced  other  lines  indicative 
of  the  internal  parts  of  the  figure,  but  it  was  still 
only  an  outline  without  colour. 

ARIENTI,  Carlo,  (or  Arrienti,)  one  of  the 
earliest  painters  of  the  modem  Italian  school, 
was  bom  at  Milan  about  1800  (or  at  Arcore  near 
Monza  in  1794)  ;  and  became  President  of  the 
Academy  in  that  city.  He  was  summoned  to 
Turin  by  Charles  Albert  to  paint  in  the  royal  palace 
a  battle-piece  representing  a  victory  gained  over  the 
Austrians.  Arienti  then  settled  in  Turin,  and  was 
made  President  of  the  Art  Academy,  and  became 
the  instructor  of  numerous  good  artists.  He 
subsequently  accepted  the  presidentship  of  the 
Academy  at  Bologna,  where  he  died  in  1873.  He 
painted  historical  pictures  of  large  dimensions. 
A  '  Murder  of  the  Iimocents '  by  him  is  in  the 
Belvedere  Gallery  at  Vienna. 

ARIGO.     See  Akegio. 

ARIJAENSZ,  PiETER.     See  Aabtsen. 

ARISTEIDES,  a  celebrated  Greek  painter  who 
flourished  about  B.C.  360 — 330,  was  a  native  of 
Thebes.  He  was  a  brother  and  pupil  of  Nicoma- 
chus,  and  contemporary  with  Apelles.  He  ex- 
celled in  painting  battle  pictures  ;  one  of  the  most 
celebrated  of  w-hich  was  '  The  Capture  of  a  City,' 
in  which  the  expressions  of  a  dying  woman  and 
her  infant  were  much  admired  :  Alexander  the 
Great  took  this  picture  to  Macedonia.  Aristeides 
also  painted  a  '  Battle  with  the  Persians,"  in  which 
there  were  one  hundred  figures ;  this  was  pur- 
chased for  a  large  sum  by  Mnason  of  Elatea. 
Attains,  king  of  Pergamus,  bought  a  picture  by 
Aristeides,  '  A  Sick  Man  on  his  bed,'  for  100 
talents  (about  £23,600),  and  Pliny  says  that 
Lucius  Mummius  refused  more  than  200  talents 
for  a  '  Bacchus '  which  he  captured  at  the  siege  of 
Corinth,  and  placed  in  the  temple  of  Ceres  at  Rome. 
An  unfinished  picture  of  '  Iris '  is  mentioned  by 
Pliny  as  having  excited  great  admiration. 

ARISTOLAUS,  a  Greek  painter  who  flourished 
about  B.C.  308,  was  a  native  of  Athens,  and  son 
and  disciple  of  Pausias.  He  was  celebrated  among 
the  painters  of  his  time  for  the  severity  of  his 
style  ;  from  which  we  may  infer  that  he  united 
a  purity  of  form  with  a  strict  simplicity  in  his 
compositions.  His  pictures  were  usually  confined 
to  a  single  figure,  and  he  made  choice  of  those 
eminent  personages  whose  memory  was  endeared 


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PAINTERS  AND  ENGRAVERS. 


to  their  country  by  their  virtues  and  exploits. 
Among  these  were  Theseus,  Bpaminondas,  and 
Pericles. 

ARISTOPHON,  the  son  and  pupil  of  the  elder 
Aglaophon,  and  brother  of  Polygnotus,  was  a 
native  of  Thasos.  Pliny,  who  places  him  among 
the  painters  of  the  second  rank,  mentions  two 
works  by  him — '  Anceeus  wounded  by  the  boar 
and  mourned  over  by  his  mother  Astypalaea  ;  ' 
and  a  picture  containing  figures  of  Priam,  Helen, 
Ulysses,  Deiphobus,  Dolon,  and  Credulitas. 

ARLAUD,  BenoIt,  a  younger  brother  of  Jacques- 
Antoine  Arlaud,  was  bom  at  Geneva.  He  painted 
miniatures  in  Amsterdam  and  afterwards  in  Lon- 
don, where  he  died  in  1719.  A  few  of  his  portraits 
are  known  from  engravings. 

ARLAUD,  Jacques  Antoine,  was  bom  at  Geneva 
in  1668.  His  first  employment  in  art  was  the 
painting  of  small  omamental  miniatures  for  the 
jewellers  at  Dijon.  He  however  attempted  some 
portraits,  and  was  sufficiently  successful  to  en- 
courage him  to  settle  at  Paris,  when  he  was  about 
twenty  years  of  age.  It  was  not  long  before  he 
distinguished  himself  in  that  metropolis,  and  his 
pleasing  style  of  painting  portraits  and  fancy  sub- 
jects recommended  him  to  the  patronage  of  the 
Duke  of  Orleans,  who,  being  fond  of  tlie  art, 
became  his  pupil,  and  accommodated  liim  with 
apartments  in  the  palace  of  St.  Cloud.  He  was 
also  favoured  with  the  protection  of  the  Princess 
Palatine,  who  presented  him  with  her  portrait,  set 
in  diamonds,  and  on  his  expressing  a  desire  to  visit 
England,  gave  him,  in  1721,  a  letter  of  recom- 
mendation to  the  Princess  of  Wales,  afterwards 
Queen  Caroline,  whose  portrait  he  had  the  honour 
of  painting.  He  returned  to  Paris,  where  he  re- 
mained for  a  few  years,  and  having  acquired  an 
ample  fortune,  he  settled  in  1729  at  Geneva,  where 
he  died  in  1743.  Works  by  him  are  in  the  Library 
and  Museum  of  that  city.  His  own  portrait  is  in 
the  Uffizi,  Florence. 

ARMANN,  Vincenzo,  (called  Monsu  Akmanno,) 
a  Fleming  by  birth,  was  born  in  1598.  He  prac- 
tised at  Rome  as  a  landscape  painter,  and  his 
pictures  are  praised  for  their  similitude  to  nature. 
Without  much  selection  of  ground,  or  trees,  or 
accompaniments,  they  charm  by  their  truth,  and  a 
certain  stillness  of  colour,  pleasingly  chequered 
with  hght  and  shade.  Passeri  relates  that  he  was 
imprisoned  by  the  Inquisition  for  eating  flesh  on 
fast  days,  and  that  on  his  liberation  he  quitted 
Rome  in  disgust,  and  died  at  Venice  in  1649  on  his 
way  back  to  his  native  country. 

ARMENINI,  Giovanni  Battista,  who  was  born 
at  Faenza  in  1540,  and  was  a  pupil  of  Perino  del 
Vaga,  pubhslied  in  1587,  at  Ravenna,  a  work 
entitled, '  De'  veri  Precetti  della  Pittura ; '  but  he  is 
considered  a  better  theorist  than  practitioner.  He 
died  in  1609. 

ARMESSIN.    See  De  l'Armessin. 

AKMITAGE,  Edward,  was  born  in  London  in 
1817.  In  1835  he  became  a  pupil  at  the  ficole  des 
Beaux  Arts  at  Paris,  of  Paul  Delaroche,  who  was 
then  its  chief,  and,  shortly  after,  largely  assisted 
that  artist  in  the  decoration  of  the  ficole  with  the 
famous  Hemioycle.  In  1842  he  exhibited  at  the 
Salon,  then  held  at  the  Louvre,  his  first  picture, 
'  Prometheus  Bound.'  The  following  year  the  first 
competition  took  place  for  the  decoration  of  the 
new  Houses  of  Parliament,  and  at  the  exhibition 
held  at  Westminster  Hall,  Armitage,  then  only 
twenty-six  years  of  age,  was  awarded  the  first  of 


the  three  premiums  of  £300  for  his  cartoon  'Csesar's 
First  Invasion  of  Britain.'  In  1844  he  was  again  a 
competitor,  and  exliibited  a  cartoon  '  Ophelia,'  and 
two  frescoes,  but  did  not  obtain  a  prize.  With  his 
'Spirit  of  Religion'  in  1845,  however,  he  was 
successful,  and  obtained  a  prize  of  £200.  In  1847 
he  was  again  successful,  and  awarded  £500  for  a 
painting  in  oil  '  The  Battle  of  Meeanee,'  wliich  was 
purchased  by  Queen  Victoria,  and  is  now  at  St. 
James's  Palace.  Subsequently  he  executed,  in 
1852,  the  fresco  'The  Personification  of  the 
Thames'  from  Pope,  and  in  1854 'The  Death  of 
Marmion '  from  Scott,  both  in  tlie  upper  waiting- 
hall  of  the  House  of  Lords.  After  a  year's  study 
in  Rome,  Armitage,  in  1845,  made  his  debut  at  the 
Royal  Academy  with  '  Henry  VIII.  and  Katharine 
Parr,'  and  a  picture  of  tlie  death  of  Nelson,  entitled 
'  Trafalgar,  1805.'  During  the  Crimean  War  he 
visited  Russia,  and  on  his  return  produced  several 
military  pictures:  'The  Bottom  of  the  Ravine 
at  Inkerman '  (1856),  'The  Souvenir  of  Scutari' 
(1857),  'The  Heavy  Cavalry  Charge  at  Balaclava,' 
and  the  '  Stand  of  the  Guards  at  Inkerman.'  After 
1860  liis  pictures  were  generally  of  biblical  subjects. 
These  include  'Ahab  and  Jezebel  '(1864), '  Esther's 
Banquet'  (1865),  now  in  the  Diploma  Gallery  of 
the  Royal  Academy,  'The  Remorse  of  Judas'  (1866), 
presented  by  the  artist,  and  now  at  the  National 
Gallery  of  British  Art,  and  'Herod's  Birthday 
Feast,'  now  in  the  Guildhall  Art  Gallery.  He 
continued,  with  the  exception  of  a  few  years, 
until  1893  to  exhibit  at  the  Royal  Academy,  but 
his  pictures  for  several  years  previous  to  this  date 
showed  signs  of  diminishing  artistic  ability.  In 
1867  he  was  elected  an  associate,  and  in  1872  a 
full  member  of  the  Royal  Academy,  and  in  1875 
was  appointed  Lecturer  on  Painting.  Being  pos- 
sessed of  private  means  he  was  enabled  to  work 
independently  at  the  subjects  in  which  he  was 
most  interested.  He  executed  gratuitously  six 
wall  paintinnps  for  Marylebone  Parish  Church, 
and  the  reredos  in  St.  Mark's  Church,  Hamilton 
Terrace,  St.  John's  Wood.  In  University  Hall, 
Gordon  Square,  he  painted  at  his  own  expense 
large  frescoes  of  thirty-four  figures  in  monochrome. 
The  figures  are  over  life  size,  and  the  composition 
twenty  yards  in  length.  He  died  at  Tunbridge 
Wells  in  1896.  y  g  g 

ARMSTRONG,  Cosmo,  an  English  engraver 'of 
some  repute  at  the  beginning  of  the  19th  century, 
engraved  illustrations  to  Kearsley's  Shakespeare 
(which  appeared  in  180.5),  to  Cooke's  Poets,  and  to 
the  Arabian  Nights.  He  was  a  Governor  of  the 
Society  of  Engravers,  and  exhibited  as  late  as  1821. 

ARNALD,  George,  born  in  Berkshire  in  1763, 
was  a  pupil  of  William  Pether,  and  at  twenty-five 
years  of  age  exhibited  his  first  picture  at  the 
Royal  Academy.  He  painted  moonlight  scenes, 
classical  landscapes,  and  marine  subjects,  and  in 
1810  was  elected  an  Associate  of  the  Academy. 
One  of  his  principal  pictures,  for  wliich  he  received 
a  commission  of  £500,  was  the  '  Battle  of  the  Nile,' 
now  in  Greenwich  Hospital.     He  died  in  1841. 

ARNAU,  Juan,  a  Spanish  painter,  who  was 
born  at  Barcelona  in  1595,  was  a  scholar  of  Eugenio 
Caxes,  at  Madrid.  He  painted  historical  subjects, 
and  was  chiefly  employed  in  the  churches  and 
convents  of  his  native  city.  In  the  monastery  of 
the  Augustines  there  are  several  pictures  painted 
by  him,  representing  subjects  from  the  life  of  St. 
Augustine,  and  in  the  church  of  Santa  Maria  del 
Mar  is   a  picture   of   St.   Peter    receiving    from 

53 


A  BIOGRAPHICAL  DICTIONARY  OF 


Angels  the  keys  of  the  Church.'     He  died  at  his 
birthplace  in  1693. 

ARNHOLD,  JoHAXK  Samuel,  who  was  bom 
in  1766  at  Heinitz,  a  village  near  Meissen,  studied 
in  the  Art  School  of  the  Porcelain  factory  of 
Meissen,  of  which  he  subsequently  became  pro- 
fessor. He  was  also  court-painter  in  Dresden. 
He  painted  in  oil  and  water-colours,  and  on  porce- 
lain and  enamel.  His  pictures  sometimes  repre- 
sented landscapes  and  hunting  scenes,  but  he  is 
chiefly  famous  for  his  fruit  and  flower  pieces. 
He  died  in  1827. 

ARNOLD.  George,  who  was  bom  m  1 1 63,  was 
elected  an  Associate  of  the  Royal  Academy  in 
1810.  He  was  appointed  landscape  painter  to 
the  Duke  of  Gloucester.  His  exhibited  works 
mostly  represented  English  scenery — occasionally 
views  in  France.     He  died  in  1841. 

ARNOLD,  Haeeiet,  a  landscape  painter,  was 
bom  in  1787.  Under  her  maiden  name,  Gouldsmith, 
this  ladv  exhibited  frequently  at  the  Academy, 
and  at  the  gallery  of  the  Water  Colour  Society,  of 
which  she  was  elected  a  member  in  1813.  She 
also  occasionally  contributed  to  the  Suffolk  Street 
Gallery.  She  married,  rather  late  in  life.  Captain 
Arnold,  R.N.  The  last  time  Mrs.  Arnold  con- 
tributed to  the  Royal  Academy  was  in  1854,  when 
she  sent  a  '  Landscape  with  Woodcutters'  Cottages 
in  Kent.'     She  died  in  January,  1863. 

ARNOLD,  Heixbich  Gotthold,  who  was  bom 
in  1785  at  Lamiitz,  near  Radeberg  in  Saxony, 
studied  under  Schubert,  and  improved  himself  by 
studying  the  works  of  Titian,  Guido  Reni,  and 
other  great  masters  in  the  Dresden  Gallery.  He 
painted  ^\-ith  much  success  portraits  and  sacred 
subjects  for  churches.  He  was  a  professor  in  the 
Academy  of  Dresden,  where  he  died  in  1854. 

ARNOLD,  JoHAXS,  an  engraver  of  no  great 
merit,  was  bom  at  Koniggraz  in  Bohemia,  in  1735, 
and  studied  under  Renz.  From  1763  to  1772  he 
worked  in  Prague.  We  have  by  him,  among 
other  things,  a  small  plate  of  '  Darnel  m  the  Lions 
Den,'  and  a  '  Saul  and  the  Witch  of  Endor,'  both 
after  F.  X.  Palcko.  Meyer  gives  a  list  of  thirty- 
one  of  his  works. 

ARNOLD,  JoxAS,  of  Ulm,  painter,  designer, 
and  engraver.  He  painted  portraits,  history,  and 
flower-pieces,  and  died  in  1669.  He  drew  the 
portraits  and  figures  engraved  by  Philip  Kilian, 
Sigismond  van  Bircken,  and  M.  Kiisell.  Jonas 
Arnold  had  two  sons,  who  flourished  at_  Ulm— 
Joseph,  a  portrait  painter,  who  died  in  1671  ;  and 
Haks  Ulkich,  an  engraver,  who  died  in  1662. 

ARNOULLET,  Balthazak,  a  French  engraver 
on  wood,  who  resided  at  Lyons  in  the  second  half 
of  the  16th  century.  According  to  Papillon,  he 
executed  a  large  woodcut  of  the  town  of  Poictiers. 
ARNOULT,  Nicolas,  a  French  engraver,  wlio 
resided  at  Paris  in  the  latter  part  of  the  17th  cen- 
turv,  and  acquired  some  reputation  by  his  por- 
traits of  the  personages  at  court.  Among  these 
are  three  of  Marie  of  Bavaria,  wife  of  Louis, 
Dauphin  of  France.  No  less  than  257  plates  by 
him  are  given  in  Meyer's  ' Kiinstler-Lexikon.' 

ARNOUX.  Michel,  a  French  genre  painter,  bom 
at  BeUeviUe,  Paris,  in  1833.  He  studied  under 
Cogniet,  E.  Frere,  and  Dansaert,  and  died  in  1877. 
Amongst  his  works  are : 

The  Young  Mother.    1866^ 
A  Future  Companion.     1870. 
The  Toilet.    1872. 
The  Elder  Sister.    1875. 
54 


A  Village  Smith.    1876. 
The  Barber's  "VTde.    1877. 

ARPINO,  n  Cavaliere  d'.     See  Cesabi. 

ARRAGONI.     See  Laurektiki. 

ARREDONDO,  Isidoro,  an  eminent  Spanish 
painter,  was  bom  at  Colmenar  de  Oreja,  in  1653. 
He  was  first  a  scholar  of  Josef  Garcia,  but  he 
afterwards  studied  under  Francisco  Rizi.  He 
painted  history  with  much  success,  and  on  the 
death  of  Rizi,  in  1685,  he  was  appointed  painter 
to  Charles  II.  of  Spain.  One  of  his  principal  works 
was  a  large  picture  of  the  'Incamation,'  which 
Palomino  mentions  as  a  very  graiid  composition. 
He  painted  much  in  oil  and  fresco  in  the  churches 
and  palaces,  and  the  '  Legend  of  Cupid  and 
Psyche,'  in  the  royal  palace,  is  considered  one  of 
his  best  works.     He  died  at  Madrid  in  1702. 

ARREGIO.     See  Abegio. 

AKRIENTI.     See  Abienti. 

ARROYO,  Diego  de,  a  miniature  painter,  who 
was  bom  at  Toledo  in  1498,  is  supposed  to  have 
studied  either  in  Italy  or  under  an  Italian  master. 
His  delicate  miniature  portraits  gained  him  much 
renown,  and  the  appointment  of  painter  to  Charles 
V.  He  also  illuminated  choir-books  for  the  cathe- 
dral of  Toledo.     Arroyo  died  at  Madrid  in  1551. 

ARSENIC,  Era.     See  Mascagsi. 

ARTARIA,  Claudio,  an  Italian  line-engraver, 
was  bom  at  Blevio  near  Como  in  1810.  He  was  a 
pupil  of  LoDghi  and  of  Anderloni,  but  in  1842 
abandoned  the  practice  of  art  in  order  to  enter  the 
well-known  house  of  Artaria  in  Vienna.  He  died 
in  that  city  in  1862.  His  best  works  are  the 
following: 

The  Madonna  and  Child  with  St.  John ;  after  Laini. 

The  Redeemer ;  after  Carlo  Dolci. 

Leonardo  da  Tinci ;  after  the  fcrtrait  by  himself  tn  the 

Tribune  at  Florence. 
Archduke  Kainer  of  Austria ;  after  Fagam. 

ARTAUD,  William,  the  son  of  a  jeweller  in 
London,  gained  a  premium  at  the  Society  of  Arts 
in  1776,  and  exhibited  his  first  picture  at  the 
Academy  in  1780.  In  1786  he  won  the  gold  medal 
of  the  Academy,  and  nine  years  afterwards  ob- 
tained the  travelling  studentship.  He  painted 
portraits  and  Biblical  subjects,  some  of  which 
were  engraved  in  Macklin's  Bible.  His  last  pic- 
ture exhibited  at  the  Academy  was  m  1822. 

ARTEAGA  y  ALFARO,  Francisco,  brother  of 
Matias,  engraved,  besides  others,  four  plates  of 
emblems  for  La  Torre  Farfan's  book.  He  worked 
at  Seville,  where  he  died  in  1711. 

ARTEAGA  T  ALFARO,  Matias,  —  son  of 
Bartolom^  Arteaga,  an  engraver  of  repute  at 
Seville  in  the  reign  of  Philip  IV.,— was  bom  in 
Seville  about  1630,  and  studied  painting  under  his 
feUow-citizen,  Valdes  Leal,  and  became  a  tolerable 
artist.  His  pictures,  mostly  of  the  \irgin,  with 
architectural  backgrounds,  were  inferior  to  his 
enffravings.  The  best  were  two  altar-pieces  m  the 
conventual   church   of  San  Pablo.     He  executed 


a  arawiiis  u  v  .cnuu^u  v^»^v. ,  ~^-  _..  _ 
by  Murillo,  for  La  Torre  Farfan's  account  of  the 
Seville  festival  in  honour  of  St.  Ferdmand :  for 
which  he  likewise  engraved  views  of  the  Giralda 
tower  of  Seville,  and  of  the  interior  and  exterior 
of  the  cathedral  He  also  executed  a  series  of 
fifty-eight  plates  for  the  '  History  of  St.  Juan  de 
la  Cmz,'  the  first  barefooted  Carmelite.     He  en- 


PAINTERS  AND  ENGRAVERS. 


graved  a  neat  plate  of  the  arms  of  the  family 
of  Arze  for  a  book  dedicated  to  a  member  of  the 
house,  in  1695.  His  works  are  usually  signed  with 
his  name  at  full  length,  or  in  a  contracted  form. 
He  died  at  Seville  in  1704. 

AETEMON,  a  Greek  painter,  who  is  recorded  by 
Pliny  to  have  painted  a  picture  of  Queen  Strato- 
nice.  from  which  it  is  presumed  that  he  lived  about 
B.C.  300.  He  also  painted  '  Hercules  and  Deian- 
ira ; '  but  his  most  celebrated  works  were  the 
pictures  which  were  carried  to  Rome,  and  placed 
in  the  Octavian  Portico,  representing  '  Hercules 
received  amongst  the  Gods  ; '  and  the  '  History  of 
Laomedon  with  Apollo  and  Neptune.' 

ARTHOIS.     See  Artois. 

AETIGA,  Francisco  de,  a  celebrated  Spanish 
landscape  and  historical  painter,  was  born  at 
Huesca,  about  1650.  He  painted  several  '  Sibyls,' 
'  Conceptions,'  and  perspective  views,  remarkable 
for  their  invention,  design,  and  colouring.  He  was 
also  an  engraver,  an  architect,  a  mathematician,  and 
an  author  of  reputation.    He  died  in  171 1  at  Huesca. 

ARTLETT,  Richard  Austin,  engraver,  was  born 
in  1807.  He  was  a  pupil  of  Robert  Cooper,  and 
afterwards  studied  under  James  Thompson.  He 
engraved  a  number  of  portraits,  among  which  are 
those  of  Lord  Ashburton,  after  Lawrence,  Lord 
Lj-ndhurst,  after  Chalon,  and  Mrs.  Gladstone,  after 
Say,  as  well  as  many  plates  of  sculpture  for  the 
'  Art  Journal,'  one  of  the  latest  being  '  The  Siren 
and  the  drowned  Leander,'  in  1873.  He  died  in 
that  year. 

ARTOIS,  Jacobus  van,  (or  Aetoys,  or  Jacques 
d'Abthois,)  a  very  eminent  landscape  painter,  was 
born  at  Brussels  in  1613.  He  studied  under  Jan 
Mertens,  an  other\vise  unknown  painter,  and  from 
nature  in  the  forests  round  his  native  city.  The 
landscapes  of  Artois  are  faithful  representations  of 
the  scenery  of  his  country ;  the  fields  and  forests 
in  the  neighbourhood  of  Brussels  were  the  subjects 
of  his  pictures,  which  are  touched  with  a  light  and 
free  pencO.  His  skies  and  distances  are  extremely 
well  represented,  and  his  trees  of  grand  form,  with 
a  foliage  that  appears  to  be  in  motion.  They  are 
very  frequently  decorated  with  admirable  figures 
by  David  Teniers,  Zegers,  Crayer,  and  with  animals 
by  Snyders,  which  very  materially  enhance  their 
value,  although  the  merit  of  his  landscapes  is  con- 
siderable. His  pictures  are  in  most  of  the  public 
galleries  on  the  Continent.  The  Brussels  Gallery 
has  five  ;  the  Darmstadt  four;  the  Dresden  three ; 
the  Copenhagen  two;  the  Vienna  four;  and  Madrid 
nine.  His  works  are  occasionally  seen  in  England  ; 
and  there  are  several  in  French  Museums.  He  died 
after  1684.  His  brother  Nicolas,  and  his  son  Jean 
Baptists,  were  also  painters. 

ARTVELT,  Andries  van,  was  born  at  Antwerp 
in  1590.  He  excelled  in  painting  sea-pieces  and 
storms,  which  he  represented  with  great  force 
and  effect.  He  resided  for  some  time  at  Genoa. 
In  1632  Van  Dijck  painted  a  portrait  of  this  artist, 
which  is  now  in  the  Gallery  at  Augsburg.  Works 
by  him  are  rarely  met  with.  The  Belvedere  at 
Vienna  has  a  large  sea-piece.     Artvelt  died  in  1652. 

ARUNDALE,  Francis,  an  architectural  draughts- 
man, was  bom  in  London  in  1 807.  He  studied  under 
Augustus  Pugin,  and  accompanied  liim  toNormandy , 
making  drawings  for  a  description  which  Pugin 
published  of  the  tour.  In  1831  Arundale  visited 
Egypt  with  Mr.  Hay,  and  in  1833  he  joined  Mr. 
Catherwood  and  Mr.  Bonomi  on  their  tour  to  the 
Holy  Land,  filling  many  portfolios  with  drawings 


of  the  interesting  monuments  and  ruins  of  Pales- 
tine. He  subsequently  visited  France  and  Italy, 
and  spent  several  winters  in  Rome.  He  made 
drawings  of  objects  of  interest  in  the  cities  of 
Italy,  in  Greece,  Sicily,  and  Asia  Minor.  He  died 
at  Brighton  in  1853.  Arundale  executed  a  few  oil- 
paintings  from  his  Eastern  sketches.  Of  his  pub- 
lished works  of  his  own  drawings  we  may  notice  : 

The  Edifices  of  Palladio.     1832. 
IHustrations  of  Jerusalem  and  Mount  Sinai.     1837. 
The  Early  History  of  Egypt  (executed  in  conjunction 
with  Mr.  Bonomi).    1857. 

ARZERE,  Stefano  dall'.     See  Dall'  Arzere. 

ASAM,  CosMAS  Damian,  who  was  born  at 
Benediktbeuern,  in  Bavaria,  in  1686,  was  the  son 
of  Hans  Georg  Asam,  a  painter.  He  studied  for 
some  time  in  Rome,  but  subsequently  took  up  his 
residence  in  Munich,  and  devoted  himself  to  the 
decoration  of  the  churches  of  Bavaria  and  Switzer- 
land. As  examples  of  his  art  mention  may  be 
made  of  his  works  in  Munich,  Friedberg,  Schleiss- 
heim,  Innsbruck,  and  Ratisbon.  In  Weltenburg 
he  built  a  chapel,  and  decorated  it  with  paintings. 
He  died  in  1742.  There  are  some  prints  by  this 
master  from  his  own  designs,  among  which  are: 

A  Franciscan  Monk  kneeling,  with  the  Virgin  Mary  in 

the  clouds,  surrounded  by  angels. 
St.  Joseph  presenting  a  book  to  a  bishop. 

He  had  two  sons,  both  of  whom  were  painters: 
Franz  Erasmus,  who  was  born  at  Munich  in  1720, 
and  died  in  the  Cistercian  monastery  of  Schonthal 
in  WUrtemberg  in  1795;  and  Engelbrecht,  who 
was  a  monk  in  the  monastery  of  Fiirstenfeld  near 
Munich. 

ASCANI,  Pellegrino,  was  an  admirable  flower 
painter,  of  the  Modenese  school.  He  flourished 
at  Carpi*  from  the  middle  of  the  17th  century  till 
about  1714.  His  brother  Simone  was  also  a 
painter. 

ASCANIUS.     See  Wijnen. 

ASCH,  PiETER  Janszoon  van,  was  born  at  Delft 
in  1603.  His  talent  lay  in  painting  landscapes  of 
a  small  size,  and,  according  to  Houbraken,  he  was 
one  of  the  most  admired  artists  of  his  time.  His 
works  are  executed  in  the  style  of  Wijnants  and 
the  Ruisdaels.  Among  the  best  of  them  are,  a 
'  Landscape,  with  the  town  of  Delft  in  the 
background,'  painted  in  16611,  in  the  Town 
Hall  at  Delft ;  a  '  Landscape '  in  the  Gallery 
at  Amsterdam ;  and  one  in  the  gallery 
of  Copenhagen.  The  date  of  Van  Asch's  yK 
death  is  not  recorded,  but  he  lived  to  a  great  Vi.) 
age. 

ASCIANO,  Giovanni  d',  a  pupil  of  Bama  of 
Siena,  is  said  to  have  completed  the  frescoes  lefl 
unfinished  by  that  master  at  San  Gimignano.  At 
Asciano,  his  birthplace,  there  is  a  work  by  Gio- 
vanni, similar  in  style  to  the  works  of  Bama. 
This  painter  flourished  about  1380. 

ASCLEPIODORUS,  an  Athenian  painter,  who 
flourished  about  the  112th  Olympiad,  was  a  con- 
temporary of  Apelles,  who  admired  his  works  for 
the  exact  symmetry  of  their  proportions,  and  caused 
them  to  be  purchased  at  very  large  prices.  Pliny 
reports  that  he  painted  twelve  pictures  of  the  Gods 
for  Mnason,  the  tyrant  of  Elatea,  for  which  he  was 
paid  five  talents  (£1180)  each. 

ASENSIO,  — ,  a  Spanish  painter,  who  lived 
at  Saragossa  about  the  end  of  the  17tli  century, 
distinguished  himself  in  portraiture. 

ASHER,  Louis  (Julius  Ludwig),  was  born  at 

55 


A  BIOGRAPHICAL  DICTIONARY  OF 


Hamburg  in  1804.  He  studied  in  bis  native  town 
under  Gerdt  Hardorf  and  Leo  Lebmann,  and  in  1821 
went  for  further  instruction  to  Dresden,  and  thence 
to  Dvisseldorf ,  where  he  entered  the  atelier  of  Cor- 
nebus;  there  he  made  the  acquaintance  of  Kaulbach, 
with  whom  he  continued  a  friendship  through  life. 
In  1825  be  accompanied  bis  master  to  Munich,  and 
was  there  employed  by  him  on  the  frescoes  of  the 
Glyptothek.  In  1827  be  returned  to  Hamburg; 
he  then,  in  1832,  went  through  Berlin  to  Italy,  and 
remained  there  three  years.  On  his  return  to  Ger- 
many, with  the  exception  of  a  second  visit  to  Italy 
in  1839,  in  company  with  his  friend  Kaulbach,  he 
resided  at  Munich  and  at  Hamburg,  where  he  died 
in  1878. 

Asher's  works,  which  consist  of  historical  pictures, 
genre  paintings,  and  portraits,  are  found  for  the  most 
part  in  Hamburg — both  m  public  buildings  and 
private  collections. 

The  following  are  some  of  the  best  examples  of 
his  art: 

Peasant  Family.     1835. 

Eesurrection  of  Christ.     1851. 

King  Lear  with  the  dead  body  of  Cordelia.    1854. 

St.  Cecilia. 

Maria  I'Ortolana. 

Portrait  of  Mile.  Jenny  Lind. 

ASHFIELD,  Edmund,  an  English  painter  in 
crayons,  who  flourished  towards  the  close  of  the 
17tb  century,  was  a  scholar  of  Michael  Wright. 
His  portraits  were  much  admired.  He  was  the 
instructor  of  Lutterel,  whose  merit  in  crayon 
painting  surpassed  that  of  his  master.  He  died 
about  1700.  There  are  a  few  portraits  by  him  at 
Burleigh  House. 

ASHFORD,  William,  was  bom  at  Birmingham 
about  1746.  Early  in  life  be  went  to  Dublin  and 
took  a  situation  in  the  Ordnance  Office,  which  he 
gave  up  in  order  to  follow  landscape  painting. 
He  was  one  of  the  original  members,  and  the  first 
president,  of  the  Hibernian  Academy,  instituted  in 
1823.  Late  in  life  he  retired  to  Sandymount.near 
Dublin,  where  he  died  in  1824.  The  Fitzwilliam 
Museum  at  Cambridge  possesses  some  of  his  best 
landscapes. 

ASNE,  Michel  l'.    See  L'Asne. 

ASPARI,  DoMENico,  who  was  born  at  Milan  in 
1745,  studied  under  Valdrighi  at  Parma,  and  there 
executed  some  decorative  paintings  for  the  Ducal 
Palace.  On  his  return  to  Milan,  he  almost  entirely 
gave  up  painting  in  order  to  devote  bis  atten- 
tion to  engraving,  forming  his  style  from  that  of 
Piranesi :  in  this  branch  of  art  he  was  very  success- 
ful. His  masterpiece  of  painting  is  the  '  Madonna 
and  Child  enthroned,  with  Saints,' which  he  executed 
for  the  church  of  Osnago.  His  portrait,  by  himself, 
is  in  the  Milan  Gallery.     He  died  in  1831. 

Of  his  engravings  we  may  mention  the  following : 

The   Flight  into  Egypt ;    after  a  picture  said  to  be  hy 

CoT^egfjio. 
The  Last  Supper ;  after  Leonardo  da  Jlnd. 
M.  Peregrina  Amoretti ;  after  Boroni. 
Twenty-three  Views  of  Milan. 

ASPER,  Hans,  a  Swiss  painter,  born  at  Zurich 
in  1499.  He  painted  portraits  with  great  success, 
and  was  also  esteemed  for  his  drawings  of  game, 
birds,  and  flowers,  which  he  imitated  with  much 
truth  to  nature.  He  painted  also  pictures  of  battles 
and  kindred  subjects.  Notwithstanding  that  the 
merit  of  this  artist  was  such  as  to  be  thought  de- 
serving of  a  medal  being  struck  to  record  it,  he 
lived  and  died  in  poverty.     He  was  town-painter ; 

56 


but,  unfortunately,  most  of  the  works  which  he 
executed  in  that  capacity  on  public  buildings  have 
been  destroyed  by  being  painted  over,  or  by  the 
puUing  down  of  the  bouses.     He  died  at  Zurich 
in  1571.     Numerous  portraits,  ascribed  to  Asper,  i 
are  in  the  Town  Library  and  other  collections  ofj 
Zuricli.      One  of  his  best  works  is  a  portrait  of 
Regula  Gwalter,  a  daughter  of  ZwingM,  and  ben 
little  daughter  of  seven  years  old,  in   the  Town 
Library,  which  also  possesses  Zwingli's  portrait,! 
by  the  same  painter.    It  is  diflBcult, 
however,  to  distinguish  Asper's  pic-  j'\/\ 
tures  from  those  of  other  artists  of    t/Xl 
the  same  school. 

ASPERTINI,  Amico,  the  younger  brother  of 
Guide  Aspertini,  was  born  at  Bologna  about  1475. 1 
He  studied  under  Ercole  Roberti  Grandi  and! 
Lorenzo  Costa,  but  he  appears  to  have  acquired! 
the  greatest  part  of  his  art  education  by  visiting! 
various  cities  in  Italy.  From  1506  till  1510  he! 
was  engaged  on  his  masterpiece,  the  paintingsl 
of  the  '  History  of  the  Crucifixion,'  which  have] 
been  recently  restored,  in  the  chapel  of  Sant'f 
Agostino  in  San  Frediano,  at  Lucca.  He  also! 
executed  works  of  merit  in  many  of  the  churchesl 
and  houses  of  Bologna ;  with  Cotignola,  Bagna-' 
cavallo,  and  Innocenzo  da  Imola  he  decorated  thel 
chapel  'della  Pace'  in  San  Petronio,  but  thel 
work  has  since  been  destroyed  ;  with  Francia  andl 
Costa  he  painted  in  Santa  Cecilia  the  still  existing! 
frescoes  of  the  history  of  that  saint.  The  Pinaco-l 
teca  at  Bologna  has  a  '  Madonna  and  Child  with! 
Saints,'  by  him,  and  the  Berlin  Gallery  an  'Adora-j 
tion  of  the  Shepherds,'  signed  amicus  bononiensisI 
FACIEBAT.  Aspertini  died  at  Bologna  in  1552.1 
He  was  also  a  sculptor.  According  to  Vasari,! 
he  was  called  'Amico  da  due  Pennelli,'  from  hi8| 
being  able  to  paint  with  both  hands  at  the  same 
time.  He  was  of  a  most  capricious  and  whim-] 
sical  disposition,  approaching  sometimes  to  menta 
derangement. 

ASPERTINI,  GuiDO,  was  born  at  Bologna 
about  the  year  1460.  He  was  the  scholar  ofs 
Ercole  Grandi,  and  proved  a  very  reputable 
painter  of  history.  His  principal  work,  which  he 
finished  in  1491,  was  the  '  Crucifixion,'  under  the 
portico  of  the  cathedral  at  Bologna.  It  has  since 
perished.  He  died  in  the  prime  of  life  when  39 
years  of  age.  In  the  Pinacoteca  at  Bologna  i^ 
an  '  Adoration  of  the  Kings,'  by  him. 

ASPRUCK,  Franz,  a  goldsmith,  designer,  and 
engraver,  of  a  Brussels  family,  flourished  in  Augs-4 
burg  from  about  1598  to  1603.  From  the  resem-j 
blance  of  his  drawing  to  that  of  R.  Spranger,  ifj 
is  probable  he  may  have  been  his  scholar.  Then 
are  a  few  prints  by  him  with  the  initials  of  hi^ 
name,  F.  A.;  thirteen  plates— full-length  figure 
— '  Christ  and  the  Apostles,'  after  Agostino  Car 
racci,  and  '  Cupid  and  Anteros,'  a  small  platej 
after  Joseph  Heintz. 

ASSCHE,  Henri  van,  born  at  Brussels  in  1774 
showed  from  his  earliest  years  a  predilection  fo^ 
painting,  and  received  from  his  father,  who  wa 
a  distinguished  amateur  artist,  the  first  principle 
of  design  and  perspective.  He  was  afterward 
placed  with  Deroy  of  Brussels,  from  whom  he  re 
ceived  further  instructions  in  painting.  Joumeyi 
in  Switzerland  and  Italy  contributed  to  develop 
bis  talent  as  a  landscape  painter.  His  gre« 
partiality  for  representing  waterfalls,  mountail 
streams,  and  mills  gained  for  bim  the  name 
'  The  Painter  of  Waterfalls.'     Several  pictures  b| 


PAINTERS  AND  ENGRAVERS. 


% 


him  may  be  seen  in  public  and  private  collections 
of  Brussels,  Ghent,  Lille,  and  Haarlem,  some  of 
which  are  enriched  with  figures  and  animals  by 
Ommeganck.     He  died  at  Brussels  in  1841. 

ASSCHOONEBECK,  Adriaan.  This  artist  was 
a  native  of  Holland,  and  flourished  about  the  year 
1690.  We  have  by  him  some  slight  incorrect 
etchings,  representing  the  '  Flight  of  James  the 
Second  from  England.' 

ASSELIJN,  Jan,  (or  Asselin,)  a  celebrated  land- 
scape painter,  was  born  atDiepen,  near  Amsterdam, 
in  1610.  He  was  a  scholar  of  Esajas  van  de  Velde, 
but  he  went  to  Italy  when  young,  where  he  re- 
mained many  years.  He  was  denominated  '  Krab- 
betje,'  on  account  of  a  contraction  in  liis  fingers. 
He  died  at  Amsterdam  in  1660.  His  pictures  repre- 
sent views  in  the  vicinity  of  Rome,  decorated  with 
figures  and  cattle,  in  the  manner  of  N.  Berchem, 
and  enriched  with  vestiges  of  Roman  architecture. 
His  skies  and  distances  are  tenderly  coloured,  and 
there  is  a  charming  effect  of  sunshine  in  some  of 
his  works  that  resembles  the  warmth  of  Jan  Both. 
His  pencil  is  remarkably  firm  and  neat,  and  the 
trees  and  plants  are  touched  with  great  sharpness 
and  spirit.  His  pictures  are  highly  esteemed, 
and  are  worthy  of  a  place  in  the  choicest 
collections.  They  are  seen  in  many  of  the 
public  galleries  on  the  Continent. 

Amsterdata.  Museum.        The  watchfulness  of  Jan  de  'Witt 
(an  enraged  Swan — an  allegory). 
„  Italian  landscape. 

Berlin.  Gallery.  Italian  sea-port. 

Cassel.  Gallery.  Landscape. 

Copenhagen. Ga^iery.  Italian  land.soape  ;  and  others. 

Darmstadt.  Gallery.  A  rocky  shore. 

Florence.       Uffizi.  Landscape. 

Paris.  Louvre.  Italian  views  (two). 

Petersburg.  Hermitage.    View  in  Italy. 

..  >,  Sea-port. 

Vienna.  Gallery.         Landscape. 

„     Liechtenstein  Coll.  lta.\ia.nsea.--poTt  (almost  a  replica 
of  the  Berlin  picture). 

ASSELT,  Van  der.     See  Van  der  Asselt. 

ASSEN,  Jan  van,  who  was  born  at  Amsterdam 
in  1635,  was  a  good  painter  of  history,  portraits, 
and  landscape,  in  the  Italian  manner  ;  he  studied 
particularly  the  works  of  Tempesta.  He  died  at 
his  birthplace  in  1695. 

ASSEN,  JoHANN  Walter  van,  is  a  name  which 
has  been  given,  rightly  or  wrongly,  to  the  artist 
who  used  the  accompanying  mono- 
gram, which  is  found  on  several  _  luk  Vw 
paintings  as  well  as  on  some  wood-  \  /VA  /l 
cuts.    See  Cornelisz,  Jacob. 

ASSERETO,  Giovacchino,  (or  Axareto,)  who 
was  bom  at  Genoa,  studied  under  Borzone  and 
Ansaldo,  by  whose  instructions  he  profited  so  well, 
that  at  the  age  of  sixteen  he  painted  a  picture  of 
the  '  Temptation  of  St.  Anthony,'  for  the  oratory 
of  Sant'  Antonio  Abate  in  Sarzano.  He  painted 
much  in  the  churches  and  palaces  of  Genoa,  and 
there  are  still  pictures  by  him  in  several  churches 
and  rehgious  houses  in  that  city.  He  painted 
from  1600  to  1649. 

ASSERETO,  Giuseppe,  son  and  scholar  of  Gio- 
vaochmo  Assereto,  painted  historical  subjects  in 
the  style  of  his  father.  He  died  after  1650,  when 
still  young. 

ASSISI,  Andrea  da.    See  Alovigi. 

ASSISI,  TiBERio  da,  was  a  scholar  and  imitator 
of  Perugmo.  His  works,  which  are  not  of  great 
merit,  may  be  seen  in  the  churches  of  Perugia  and 
the  neighbourhood.     A  fresco  is  at  San  Martino, 


outside  Trevi ;  a  lunette  containing  a  '  Virgin  and 
Child,'  with  a  '  Madonna  between  two  Saints,'  dated 
1510,  and  five  scenes  from  the  life  of  St.  Francis, 
dated  1512,  are  still  at  Montefalco. 
AST,  B.  VAN  DER.  See  Van  der  Ast. 
ASTA,  Andrea  dell'.  See  Dell'  Asta. 
ASTLEY,  John,  an  English  portrait  painter, 
was  born  at  Wem,  in  Shropshire,  about  1730. 
He  was  a  scholar  of  Hudson,  and  afterwards 
visited  Italy,  about  the  same  time  that  Sir  Joshua 
Reynolds  was  at  Rome.  He  possessed  talents  of 
a  superior  order,  and  painted  portraits  with  great 
reputation  and  success.  A  lady  of  large  fortune. 
Lady  Daniell,  whose  portrait  he  had  painted,  con- 
ceived an  affection  for  him,  and  offered  him  her 
hand  :  on  his  marriage  he  relinquished  the  profes- 
sion. He  died  in  1787.  (For  further  details  of 
his  somewhat  romantic  life  see  Redgrave's  Dic- 
tionary.) 

ASTOR,  Diego  de,  of  Toledo,  studied  under 
Domenico  Theotocopuli,  and  in  1606  engraved, 
under  his  superintendence,  a  '  St.  Francis,'  after 
Nic.  de  Vargas.  Astor  was  engraver  to  the  Mint 
of  Segovia,  and  was  also  employed  to  engrave  the 
royal  seals.  Of  his  plates  we  may  notice  the  title- 
page  to  Colmenares'  '  Historia  de  Segovia '  (Ma- 
drid, 1640),  and  that  to  Bonet's  book  on  'Speech 
for  the  Dumb,'  one  of  the  best  works  of  the  kind. 
ATHENION  was  a  native  of  Maroneia,  in 
Thrace,  and  was  a  disciple  of  Glaucion  of  Corinth, 
a  painter  of  whom  no  other  mention  is  made. 
Athenion  appears  to  have  been  a  contemporary  of 
Nicias,  as  his  works  are  compared  by  Pliny  to 
those  of  that  painter,  and  without  any  disparity, 
for  he  adds,  "  If  he  had  lived  to  maturity,  no  one 
would  have  been  worthy  to  be  compared  to  him." 
Though  his  colouring  was  more  austere  than  that 
of  NiciaS  it  was  not  less  agreeable.  He  painted 
for  the  temple  of  Eleusis  a  picture  said  to  have 
been  a  portrait  of  Phylarchus  the  historian ;  and 
at  Athens,  '  Achilles  disguised  as  a  girl,  discovered 
by  Ulysses.' 

ATKINSON,  John  Augustus,  who  was  born  in 
London  in  1775,  went,  when  quite  young,  with 
his  uncle  to  St.  Petersburg,  where  he  studied  in 
the  picture  galleries.  In  1801  he  returned  to 
England,  and  in  1803  published  'A  Picturesque 
Representation  of  the  Manners,  Customs,  and 
Amusements  of  the  Russians,'  in  100  plates, 
drawn  and  etched  by  himself.  He  afterwards 
painted  a  '  Battle  of  Waterioo,'  which  was  en- 
graved by  John  Burnet.  He  also  painted  in 
water-colours.  His  last  contribution  to  the  Aca- 
demy exhibirion  was  in  1829.  The  date  of  his 
death  is  not  recorded :  he  was  still  living  in  1831. 
ATKINSON,  Thomas  Witlam,  who  was  bom 
of  humble  parents  about  1799,  began  life  as  an 
ecclesiastical  stone-carver.  In  1831  he  published 
his  '  Gothic  Ornament,'  and  afterwards  settled  in 
Manchester  as  an  architect.  In  1840  he  went  to 
London,  then  through  Hamburg  and  Berlin  to  St. 
Petersburg,  where  he  obtained  permission  to  travel 
in  the  more  unfrequented  parts  of  the  Russian 
Empire  in  Asia.  He  made  many  drawings  and 
sketches,  and  on  his  return  to  England  published 
the  following  works,  illustrated  by  his  hand : 
Oriental  and  Western  Siberia.  1858. 
Travels  in  the  Region  of  the  Upper  and  Lower  Amoor. 

1860. 
Recollections  of  the  Tartar  Steppes  and  their  Inhabit- 
ants.   1863. 

Atkinson  died  at  Little  Walmer  in  1861. 

67 


A  BIOGRAPHICAL  DICTIONARY  OF 


ATTAVANTE  (or  Vante),  a  friend  of  Gherardo, 
and  an  imitator  of  Bartolommeo  della  Gatta,  was 
employed  by  Matthias  Corvinus,  King  of  Hungary, 
for  whom  he  executed  a  missal,  now  in  the  Royal 
Library  at  Brussels.  There  is  another  breviary 
by  him  in  the  National  Library  at  Paris,  executed 
in  the  manner  of  the  Ghirlandaj.  Other  missals 
in  Florence  and  Rome  are  also  ascribed  to  him. 
Attavante,  who  was  a  miniature  painter  of  great 
merit,  worked  at  Florence  towards  the  close  of  the 
15th  century. 

ATTIRET,  Jean  Denis,  who  was  bom  at  Dole 
in  1702,  studied  art  first  under  his  father,  an  un- 
known painter  ;  and  then  improved  his  style  by  a 
visit  to  Rome.  On  liis  return  he  painted  portraits 
at  Lyons  and  at  Dole.  When  little  more  than  30 
years  of  age  he  entered  the  order  of  Jesuits,  and 
during  his  noviciate  painted  four  works  for  the 
cathedral  of  Avignon.  In  1737  Attiret  went  to 
China,  rose  to  high  honour  at  court,  and  was  ap- 
pointed painter  to  the  Emperor.  He  painted 
numerous  portraits,  pictures  for  churches,  battle- 
scenes,  landscapes,  and  fruit  and  flower  pieces. 
Works  by  him  are  in  the  Royal  Palace  at  Pekin, 
where  he  died  in  1768. 

ALBERT,  AuGUSTiN  Raymond,  who  was  bom 
at  Marseilles  in  1781,  studied  at  first  imder 
Guenin,  and  subsequently  with  Peyron,  in  Paris, 
to  which  city  he  went  in  1802.  He  soon,  how- 
ever, returned  to  his  native  town,  and  in  1810  was 
made  Director  of  the  School  of  Design,  and  in  that 
capacity  directed  the  studies  of  numerous  pupils 
who  afterwards  became  celebrated.  He  painted 
history,  landscape,  and  portrait  subjects  with 
much  success.  The  museum  and  churches  of  his 
native  town  possess  several  good  examples  of  his 
art.  Some  of  his  chief  pictures,  taken  from  sacred 
history,  are  of  large  dimensions.  He  died  on  his 
estate,  near  Marseilles,  in  1847. 

ALBERT,  Jean,  a  French  engraver,  flourished 
in  Paris  from  about  1720  to  1741,  in  which  year  he 
died.  His  prints  are  little  more  than  sUght  etch- 
ings, and  without  much  effect.  He  engraved  the 
Portrait  of  Gillot;  some  Academy  figures,  after 
Edme  Bouchardon ;  and  a  '  Drawing-book,'  from 
Raphael  and  other  masters,  after  drawings  by 
Bouchardon.     He  was  also  an  architect. 

ALBERT,  Michel.  This  artist  was  bom  in 
Paris  about  1704.  He  engraved  portraits  and  his- 
torical subjects.  His  manner  is  slight  and  free, 
and  in  some  of  his  historical  prints  he  appears  to 
have  imitated  the  style  of  Gerard  Audran,  but  not 
with  very  great  success.  He  died  in  Paris  in 
1757.     His  plates  are  : 

POBTBAITS. 

Elizabeth,  Queen  of  England ;  4to. 

Charles  Emmanuel,  Duke  of  Savoy  ;  after  Van  Dycli. 

Victor  Amadeus,  King  of  Sardinia ;  after  Ferrand. 

James  I.,  King  of  England. 

Philip  of  France,  Duke  of  Orleans ;  after  Nocret. 

Marquise  de  Montespan. 

Louis  XV.  on  horseback  ;  after  Le  Sueur. 

Louis,  Dauphin  of  France,  on  horseback  ;  after  the  same. 

Two  portraits — The  Dauphin  and  the  Dauphiness  ;  aftt  r 

La  Tour. 
Portrait  of  Charles  Stuart,  oval ;  after  the  same. 
Sixty-two   portraits  for  jy ^rgenville^s  Abrigt   de  la 
Vie  des  plus  fa»ieux  Feintres. 

SUBJECTS   AFTER   DIFFERENT  MASTERS. 

The  Circumcision ;  after  Ciro  Ferri, 
St.  Francis ;  after  Cfuido  ;  arched. 
58 


Pan  instructed  by  Cupid,  half-length  figures;  afttr 
Annibale  Carracei. 

St.  George  kneeling  before  the  Virgin  Mary  and  Infant ; 
after  Farmigiano. 

Mars  and  Venus,  bound  by  Love;  after  Faolo  Vero- 
nese, for  the  Crozat  Collection. 

Mars  disarmed  by  Venus ;  after  the  same,  for  Die  aomf 

Vanity,  an  allegorical  subject ;  after  Bouchardon. 

Venus  reposing  with  Cupid ;  after  Boucher. 

The  Death  of  Adonis ;  after  the  same. 

Laban  seeking  for  his  Gods ;  after  Jeaurat. 

The  KeconciUation  of  Jacob  and  Esau ;  after  the  tame. 

The  Promenade  on  the  Kamparts;  after  Watteau. 

The  Rendezvous  de  Chasse ;  after  the  same. 

ALBERT,  Pierre  Eugene,  a  French  engraver  1 
and  pupil  of  Scheuder,  was  born  in  Paris  in  1789, 1 
and  died  there  in  1847.  His  best  work  is  a ' 
'  View  at  Samboanga  in  the  island  of  Mindanao,' 
after  E.  GoupU ;  he  also  engraved  '  Llysses  and 
Nausicaa,'  after  the  picture  by  Rubens  in  the  ] 
Aguado  Gallery. 

ALBERTIN,  FBANgois,  who  was  bom  at  Metz  I 
in  1773,  began  life  as  a  soldier,  but  subsequently  ] 
became  an  engraver  in  aquatint,  in  which  pro-  i 
cess  he  made  certain  technical  improvements.  He  | 
worked  at  Dresden,  Berlin,  Paris,  and  at  Ghent,  ' 
where  he  died  by  suicide  in  1821.  AubertinJ 
engraved  plates  after  Berohem,  Paul  Potter,  C. 
Vanloo,  Dietrich,  and  others. 

ALBIN,    AuGUSTiN  DE   SAINT.      See    Saint- 

AUBIK. 

ALBRIER,  — ,  was  a  French  engraver  of  the 
18th  century  (?)  by  whom  we  have  a  portrait  ofj 
Cesare  Borgia,  Duke  of  Valentinois. 

ALBRIET,  Claude,  who  was  born  at  ChSlons- 
sur-Marne  about  1665,  studied  under  Jean  Joubert,] 
and   became  famous  for  his  drawings  of  plants. 
In  1700  he  accompanied  the  botanist  Tournefortj 
to  the  Levant,  and  on  his  return  was  made,  by  | 
Louis  XIV.,  painter  at  the  Jardin  du  Roi.      He] 
died  in  Paris  in  1742.     The  national  libraries  of 
Paris  and  Gottingen  possess  botanical  drawings  j 
by  his  hand. 

ALBRY,  Abeahaji,  was  a  native  of  Oppenheim,  I 
and  flourished  about  the  year  1650.  He  studied  j 
under  his  elder  brother  Peter,  and  assisted  him  in  1 
his  publications  in  Strasburg.  He  also  carried  on  j 
a  considerable  business  as  a  printseller.  He  resided  I 
at  Strasburg,  Nuremberg,  Frankfort  -  on  -  Main, } 
and  Cologne,  and,  FiissH  tells  us,  was  still  living  inj 
1682,  He  engraved,  besides  other  prints,  eleven  ofj 
the  twelve  plates  representing  the  '  Twelve  Months! 
of  the  Year'  (1653),  after  Sandrart;  the  monthj 
of  Jlay  was  engraved  by  F.  Brun. 

ALBRY,  Etienne,  who  was  born  at  Versailles'] 
in  1745,  studied  under  J.  A.  Silvestre  and  Joseph! 
Vien,  and  soon  became  noted  for  his  portraits  and! 
genre  subjects.  He  exhibited  several  works  of  f 
great  merit  at  the  Salon  ;  but  his  life  was  cut  1 
short  in  its  prime  in  1781,  in  which  year  he  had  j 
exhibited  the  'Parting  of  Coriolanus  from  hisj 
Wife.' 

ALBRY,  JoHANN  Philipp,  an  engraver  and] 
printseller,  who  resided  at  Frankfort  about  the] 
year  1670,  and  was  a  relative  of  Peter  and  Abra- 
ham Aubry.  He  engraved  a  great  number  of  j 
plates  for  the  booksellers,  as  well  as  for  his  own] 
collection.  They  chiefly  consist  of  portraits,  and! 
are  executed  in  a  very  indifferent  style. 

ALBRY,  Louis  Franijois,  who  was  bora  in ) 
Paris  in  1770,  studied  under  Vincent  and  Isabey, 
and  became  celebrated  as  a  portrait  painter. 
He   exhibited   at  the  Salon  of  1810  portraits  ofj 


PAINTERS  AND  ENGRAVERS. 


the  King  and  Queen  of  Westplialia,  which  were 
praised  for  their  colouring.     He  died  about  1850. 

AUBRY,  Peteb.  According  to  Huber,  this 
artist  was  born  at  Oppenheira,  about  the  year  1596. 
He  was  the  elder  brother  of  Abraham  Aubry,  and 
was  also  established  at  Strasburg  as  a  printseller. 
He  is  said  to  have  died  there  in  1666,  but  a  print 
bearing  date  1668  has  his  name  as  publisher.  He 
engraved  a  great  number  of  portraits  of  eminent 
persons  of  different  countries,  a  long  list  of  which 
is  given  by  Heineken.  They  are  executed  with 
the  graver  in  a  very  indifferent  style.  Among 
others  are  the  following : 

Oliver  Cromwell. 

Ferdinand  Ernest,  Count  of  "Wallenstein. 

Johannes    Schmidt,  D.D.,  -Professor  of  Theology   at 

Strasburg. 
Michael  Virdung,  Professor  at  Altdorf. 

AUBRY-LECOMTE,  Hyacinthe  Louis  Victor- 
Jean  Baptiste,  draughtsman  on  stone,  was  bom 
at  Nice  in  1797.  He  studied  under  Girodet-Trio- 
son,  and  became  a  draughtsman  of  great  merit, 
and  did  much  for  the  improvement  of  the  art.  He 
died  in  Paris  in  1858.  Many  of  Aubry-Lecomte's 
engravings  are  from  works  by  his  instructor :  he 
also  engraved  after  Prud'hon,  Gerard,  Dejuinne, 
Vernet,  Greuze,  and  other  French  painters.  He 
executed  a  lithograph  of  the  '  Madonna  di  San 
Sisto,'  from  the  copy  of  Raphael's  picture  whicli 
is  in  Rouen.  The  subjects  of  his  works  are  various 
— historical,  both  sacred  and  secular,  allegorical, 
portraits,  and  of  a  genre  character. 

AUBUISSON,  Jdlien  Honoe^  Germain,  Mar- 
quis d',  who  was  born  in  1786,  painted  and  exhi- 
bited, from  1812  to  1822,  in  the  Paris  Salon,  several 
poetical  and  historical  pictures ;  namely,  '  Paris 
taking  leave  of  Helen,'  '  Hector  forcing  Paris  to 
quit  Helen,'  'Alexander  and  Bucephalus,'  and  the 
'  Punish '.ient  of  Hebe.' 

AUDEBERT,  Jean  Baptiste,  a  French  painter 
and  etcher,  was  born  at  Rochefort  in  1769.  He 
engraved  the  plates  of  the  '  Histoire  Naturelle  des 
Singes,'  published  in  1800,  and  the  '  Histoire  des 
Colibris,'  published  in  1803.  He  particularly  ex- 
celled in  drawing  and  engraving  animals,  and 
other  objects  of  natural  history.  He  died  in  Paris 
in  1800. 

ADDEN-AERD,  Robert  van,  (orOuDEN-AERD,) 
was  a  reputable  painter,  and  a  still  more  cele- 
brated engraver.  He  was  born  at  Ghent  in  1663, 
and  was  first  a  scholar  of  Francis  van  Mierhop, 
but  he  afterwards  studied  under  Hans  van  Cleef. 
When  he  was  twenty-two  years  of  age  he  went  to 
Rome,  where  he  became  a  disciple  of  Carlo  Maratta. 
Under  this  master  he  became  a  good  painter  of 
historical  subjects.  He  amused  himself  with  the 
point  in  his  leisure  moments,  and  some  of  his 
plates  were  shown  to  Carlo  Maratta,  who  recom- 
mended hira  to  devote  himself  entirely  to  the  art 
of  engraving.  He,  however,  painted  several  pic- 
tures for  the  churches  of  his  native  city,  to  which 
he  returned  after  an  absence,  it  is  said,  of  thirty- 
seven  years.  He  died  at  Ghent  in  1743.  His 
best  work  is  the  altar-piece  of  the  high  altar  in 
the  church  of  the  Carthusians  at  Ghent,  represent- 
ing '  St.  Peter  appearing  to  a  group  of  Monks  of 
that  order.'  In  the  church  of  St.  James  is  a 
picture  by  him  of  '  St.  Catharine  refusing  to  worship 
the  False  Gods.'  Several  other  works  by  this 
master  are  in  the  churches  and  convents  of  his 
native  city,  all  of  which  are  painted  in  the  style 
of  C.  Maratta. 


The  plates  which  he  executed  entirely  with  the 
'graver  are  not  considered  equal  to  those  in  which 
he  introduced  the  point.  His  drawing  shows  a 
perfect  acquaintance  with  the  human  figure,  and 
is  very  correct.  The  principal  part  of  his  prints 
are  after  the  pictures  of  Carlo  ^-^-^  at-  i  /-» 
Maratta.  The  following  is  a  /?)A(  VtS 
list  of  the  more  important :        J-  vZV\-«        xVi 

portraits. 

The  Cardinal  Sacripante ;  after  G.  B.  Gaulli.    1695. 

The  Cardinal  Taurusi ;  after  the  same. 

The  Cardinal  Ottoboni ;  after  the  same. 

The  Cardinal  F.  Barberini ;  after  G.  Maratta. 

The  Cardinal  Henri  de  la  Grange  d'Arquien ;  after  F. 

Desporles.     1695. 
The  Cardinal  Giuseppe  Archinto  ;  after  G.  Passeri, 
The  Cardinal  Andrea  di  Santa  Croce  ;  after  the  same. 
The  Father  Francesco  Caraccioli ;  after  A.  Froeaceini. 

sdbjeots  after  carlo  maratti. 

Hagar  and  Ishmael  in  the  desert ;  etching. 

The  Sacrifice  of  Abraham;  etching. 

Kebekah  and  the  servant  of  Abraham  ;  etching. 

David  with  the  head  of  Goliath  ;  etching. 

Bathsheba  in  the  bath. 

The  Annunciation. 

The  Adoration  of  the  Magi ;  etching. 

The  FUght  into  Egypt ;  same. 

The  Kepose  in  Egypt ;  octagon. 

Our  Saviour  on  the  Mount  of  Olives. 

The  Crucifixion. 

The  dead  Saviour  in  the  lap  of  the  Virgin,  with  the 
Marys  and  St.  John. 

The  Death  of  the  Virgin. 

The  Assumption  of  the  Virgin. 

The  Virgin  Mary  with  the  Infant  Jesus  distributing 
chaplets  to  nuns. 

Mary  Magdalene  penitent. 

The  Martyrdom  of  St.  Blaise. 

St.  Anthony  of  Padua  kissing  the  Infant  Jesus. 

St.  Philip  Neri. 

Janus,  first  King  of  Italy,  received  amongst  the  Gods. 

Eomulus  and  Eemus. 

Apollo  and  Daphne,  in  two  sheets. 

The  Pope  Innocent  XII.  on  his  throne,  at  his  feet  Heresy 
subdued,  and  the  Four  Quarters  of  the  World  pros- 
trate. 

SUBJECTS   after   DIFFERENT   ITALIAN    MASTERS. 

The  Triumph  of  Julius  Caesar,  a  series  of  ten  plates  ; 

after  A.  Mantegna. 
The  Nativity  ;  after  Pieiro  da  Cortona. 
Five  etchings — Of  the  life  and  death  of  St.  Bibiana ; 

three  after  Pietro  da  Cortona,  and  two  after  Bernini. 
Hippomenes  and  Atalanta,  a  group  ;  after  Bernini. 
The  Rape  of   a  Sabine   woman;    after   Giovanni  da 

Bologjia. 
St.  Facimdo  ;  after  Giae.  Brandt. 
The  Birth  of  the  Virgin  ;  after  Ann.  Carracci. 
The  Scourging  of  St.  Andrew;  after  Domeiiichino. 
St.  Andrew  Jed  to  crucifixion ;  after  the  same. 
St.  Andrew  transported  to  Heaven  ;  after  the  same. 
St.  Luke  painting  the  portrait  of  the  Virgin;   after 

Marc  Antonio  Franceschini. 
The  Wrath  of  Achilles ;  after  G.  B.  Gaulli ;  in  three 

sheets. 

AUDINET,  Philip,  of  a  French  family  which 
came  to  this  country  at  the  revocation  of  the 
Edict  of  Nantes,  was  bom  in  Soho,  London,  in  1766. 
He  was  apprenticed  to  John  Hall,  and  was  first 
employed  to  engrave  the  portraits  in  Harrison's 
'  Biographical  Magazine,'  &c.  Among  his  larger 
works  are  portraits  of  Sir  Benjamin  Hobhouse  and 
Sir  William  Domville,  and  an  excellent  engraving 
of  Barry's  unfinished  portrait  of  Dr.  Johnson.  He 
died  in  London  in  1837. 

AUDOUIN,  Pierre,  an  eminent  French  en- 
graver, and  pupil  of  Beauvarlet,  was  bom  in  Paris 
in  1768,  and  died  there  in  1822.     He  engraved  for 

59 


A  BIOGRAPHICAL  DICTIONARY  OF 


the '  Muste  Prancais,'  published  by  Laurent,  several 
of  the  finest  works  of  the  Italian  and  Dutch  masters. 
The  following  are  fine  specimens  of  his  talent : 

Jupiter  and  Antiope ;  after  Correggio, 

La  belle  Jardiniere  ;  ajter  Baphael. 

The  two  portraits  called  Raphael  and  his  Fencing- 
master  ;  ascribed  to  Raphael. 

The  Entombment  of  Christ ;  after  Caravaggio. 

Charity  ;  after  Andrea  del  Sarto. 

Melpomene,  Erato,  and  Polyhymnia  ;  after  Le  Sueur. 

Two  subjects,  after  Terborch ;  one  after  Mieris ;  and 
one  after  I^etscher. 

Marie  Theresa  Charlotte,  Duchess  of  Angooleme ;  after 
Dermont. 

Madame  Le  Brun  ;  after  herself. 

Louis  SYIII.  in  his  coronation  robes  ;  after  Le  Gros. 

AUDRAN  Family,    the. 


Charles 
(1694_10r4l 


Claude  I. 
(1697—1677) 


Germain 
(1631—1710) 


Clauile  II. 
(1039—1684) 


Gfrard 
(1640-1703) 


Claude  III.  Benoit  I.  Jean  Louis 

(1068-1734)  (1661—1721)  (1CC7— 1766)  (1670—1712) 

Benoit  n. 
(1698—1772) 

ATJDR.4N,  Benoit,  'the  elder,' the  second  son 
of  Germain  Audran,  was  born  at  Lyons  in  1661. 
He  received  his  first  instruction  in  the  art  of  en- 
graving from  his  father  ;  but  had  afterivards  the 
advantage  of  studying  under  his  uncle,  the  cele- 
brated Gerard  Audran.  Although  he  never  equalled 
the  admirable  style  of  his  uncle,  he  engraved  many 
plates  of  historical  subjects  and  portraits,  which 
have  justly  established  his  reputation.  His  style, 
like  that  of  Gerard,  is  bold  and  clear  ;  his  draw- 
ing of  the  figure  is  very  correct ;  and  there  is  a 
fine  expression  of  character  in  his  heads.  He 
was  received  into  the  Academy  in  1709,  and  was 
appointed  engraver  to  the  king,  with  a  pension. 
He  died  in  1721,  in  the  village  of  Ouzouer,  near 
Sens.  His  portrait,  after  J.  Vivien,  has  been  en- 
graved by  his  nephew  Benoit,  the  younger.  The 
following  are  his  principal  plates : 

PORTRAITS. 

Charles  le  Goux  de  la  Berehere,  Archbishop  of  Nar- 

bonne  ;  after  L.  de  Boulogne. 
Jean  Baptiste  Colbert ;  after  C.  Lefebvre  ;  oval. 
Joseph  Clement  of   Bavaria,   Elector  -  Archbishop  of 

Cologne  ;  after  J.  Vivien. 
Henri  de  Beringhen  ;    after  Nanfeuil.     1710. 
Samuel  Frisching,  General  of  the  Swiss;  after  J.  Huber. 

1713. 
J.  F.  A.  Willading  ;  after  J.  Huber.     1718. 
Equestrian  Statue  of  Louis  XIV. ;   after  Deajardins  ; 

by  B.  and  J.  Audran. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  Baptism  of  Jesus  Christ ;  after  Albani. 

David  with  the  Head  of  Gohath  ;  after  a  picture  m  the 

Louvre,  formerly  attributed  to  Michelangelo,  but  now 

ascribed  to  Daniele  da  Volterra  ;  two  plates,  engraved 

in  1716  and  1717. 
Moses  defending  the  Daughters  of  Jethro;  after  Le 

Brun. 
The  Espousals  of  Moses  and  Zipporah ;  after  the  same. 
The  Elevation  of  the  Cross  ;  after  the  same.     1706. 
The  Descent  from  the  Cross  ;  after  the  same. 
An  allegorical  subject — Holland  accepting  Peace ;  after 

the  same. 
Zephyrus  and  Flora ;  after  Ant.  Coypel. 
The  Pleasures  of  the  Garden  ;  two  friezes  ;  after  Mig- 

nard ;  engraved  by  Benoit  and  Jean  Audran. 
60 


The  Saviour  with  Martha  and  Mary ;  after  Le  Sueur. 
St.  Paul  preaching  at  Ephesus  ;  after  the  same. 
Alexander  drinking  the  Cup  which  his  Physician  pre- 
sents him  ;  after  the  same. 
The  Accouchement  of  Marie  de  Medicis ;  after  Rubens. 
The  Exchange  of  the  Two  Queens  ;  after  the  same. 
[The  two  last  form  part  of  the  Luxembourg  Gallery.] 

Several  other  prints  by  this  artist  are  specified 
in  the  '  Dictionnaire  des  Artistes,'  by  Heineken, 
and  in  Meyer's  '  Allgemeines  Kiinstler-Lexikon ' 
upwards  of  two  hundred  are  enumerated. 

AUDRAN,  Benoit,  called  '  the  younger,'  to  dis- 
tinguish him  from  his  uncle,  was  born  in  Paris  in 
1698,  and  died  there  in  1772.  He  was  the  son 
and  pupil  of  Jean  Audran,  and  engraved  in  the 
same  manner  as  his  father.  He  engraved  prints 
after  Paolo  Veronese,  Poussin,  Natoire,  Lancret, 
Watteaii,  and  other  French  artists. 

AUDRAN,  Charles.  This  artist  was  the  first 
of  the  Audran  family  who  became  eminent  in  the 
art  of  engraving.  He  was  bom  in  Paris  in  1594. 
In  his  boyhood  he  showed  a  great  disposition  for 
the  art ;  he  received  some  instruction  in  drawing, 
and  wlien  still  young  went  to  Rome  to  perfect 
himself :  there  lie  produced  some  plates  that  were 
admired.  He  adopted  that  species  of  engraving 
that  is  entirely  performed  with  the  graver,  and 
appears  to  have  formed  his  style  by  an  imitation 
of  the  works  of  Cornells  Bloemaert.  On  his  return 
to  France  he  lived  for  some  time  in  Lyons,  but 
finally  settled  in  Paris,  where  he  died  in  1674, 
aged  80.  He  marked  his  prints,  which  are  very 
numerous,  in  the  early  part  of  his  life  with  a  C, 
until  his  brother  Claude,  who  also  engraved  a  few 
plates,  marked  them  with  the  same  letter  ;  he  then 
changed  it  for  A'.,  as  the  initial  of  Karl.  The 
following  are  his  principal  prints : 

PORTRAITS. 

Henri  of  Conde,  with  the  Four  Cardinal  Virtues ;  K. 
Audran,  sc. ;  oval. 

Andre  Laurent,  physician  to  Henry  IV. ;  oval. 

Pierre  Seguier ;  oval,  with  ornaments  ;  after  Chaiiveau. 

An  allegorical  subject,  of  two  Portraits,  with  a  Genius 
painting  a  third  Portrait ;  inscribed  on  the  pallet, 
unus  ex  duobus;  signed  C.  Audran,  fecit. 

SUBJECTS  AFTER  DIFFERENT  MASTERS. 

The  title  for  the  Gallery  of  the  Great  Women,  repre- 
senting Anne  of  Austria  and  nineteen  other  eminent 
women,  with  a  subject  from  their  life  in  the  back- 
ground ;  after  Pietro  da  Cortona. 

The  Annunciation ;  inscribed  Spiritus  Sanctus,  ^c. ; 
after  Lodovico  Carracci,  incorrectly  attributed  on  the 
plate  to  Annibale  ;  very  fine ;  it  is  the  picture  in  the 
Cathedral  at  Bologna. 

The  Baptism  of  Christ ;  small  oval ;  after  Ann.  Car- 
racci ;  no  name. 

St.  Francis  de  Paula ;  after  Mellin  ;  marked  Carl.  Au- 
dran, sc. 

The  Stoning  of  Stephen  ;  after  Palma  '  the  younger.' 

The  Conception  of  the  Virgin  Mary ;  after  Stella. 

The  Nativity  ;  after  the  same. 

The  Holy  Family,  with  St.  Catharine  and  Angels ;  afier 
the  same  ;  fine. 

The  Virgin  and  Infant  Jesus,  St.  John  presenting  an 
Apple,  and  St.  Catharine  kneeling;  after  Titian; 
very  firie. 

The  Virgin  Mary  and  Infant  Jesus  treading  on  the 
Serpent ;  after  G.  L.  Valesio. 

A  Thesis,  representing  Religion  as  the  true  Knowledge ; 
inscribed  iVb>?  J»rficrtWi;/5,  <§rc.;  after  C.  Vignon. 

St.  Francis  de  Paula  in  ecstasy  before  the  Sacrament ; 
after  S.  Vouet. 

Frontispiece  for  a  Book,  Fame  holding  the  Portrait 
of  Cardinal  Mazarin  ;  after  the  same. 

The  Assumption  of  the  Virgin"  after  Domenichino ; 
very  fine. 


PAINTERS  AND  ENGRAVERS. 


In  Dr.  Meyer's  '  Kunstler-Lexikon '  is  a  list  of 
223  of  his  works. 

AUDRAN,  Claude,  'the eldest,'  the  brother  (or, 
as  some  say,  the  cousin)  of  Charles,  was  bom  in 
Paris  in  1597.  After  receiving  some  instruction 
from  Charles,  he  removed  to  Lyons,  where  he 
died  in  1677.  Whether  he  visited  Rome  or  not  is 
uncertain.  His  engravings,  which  are  signed 
either  Claude  Audran,  or  CI.  Audran,  are  executed 
after  the  manner  of  Cornells  Cort  and  F.  Villa- 
mena.  They  are  chiefly  portraits  and  allegories. 
He  left  three  sons,  Germain,  Claude  the  younger, 
and  Gerard. 

AUDRAN,  Claude,  'the  younger,'  the  second  son 
of  Claude  1.,  was  born  at  Lyons  in  1639.  He  studied 
drawing  with  his  uncle  Charles  in  Paris,  and  sub- 
sequently went  to  Rome.  On  his  return  he  was 
engaged  by  Le  Brun  at  Paris,  and  assisted  him  in 
his  pictures  of  the  'Passage  of  the  Granicus,'  the 
'  Battle  of  Arbela,'  and  in  many  other  of  his  works; 
and  was  an  imitator  of  his  style.  He  painted  also 
in  fresco,  under  the  direction  of  Le  Brun,  the 
chapel  of  Colbert's  Chateau  at  Sceaux,  the  gallery 
of  the  Tuileries,  the  grand  staircase  at  Versailles, 
and  other  works.  He  drew  well,  and  had  great 
facility  of  eexcution.     He  died  in  Paris  in  1684. 

AUDRAN,  Claude,  called  '  the  third,'  to  dis- 
tinguisli  him  from  his  grandfather  and  his  uncle, 
was  born  at  Lyons  in  1658.  He  was  the  eldest 
son  of  Germain  Audran,  from  whom  he  received 
instruction  in  art;  he  studied  also  under  his  uncles, 
Claude  II.  and  Gerard.  He  was  appointed  cabinet 
painter  to  the  king ;  and  also  held  for  twenty-nine 
years  the  sinecure  office  of  keeper  of  the  Luxem- 
bourg Palace,  where  he  died  in  1734.  He  painted 
in  oil  and  frescoes  in  several  of  the  royal  resid- 
ences of  France.  The  '  Twelve  Months,'  which  he 
executed  for  tapestry  for  the  king,  were  engraved 
by  his  brother  Jean.  ClaudeAiidran  was  instructor 
to  the  celebrated  painter  Watteau. 

AUDRAN,  GERARD,  the  third  son  of  Claude  I., 
was  born  at  Lyons  in  1640.  After  learning  the  first 
principles  of  design  and  engraving  from  his  father 
and  from  his  uncle  Charles,  he  was  sent  to  Paris, 
and  received  instructions  from  Le  Brun,  who  gave 
him  some  of  his  pictures  to  engrave.  He  after- 
wards, in  1667,  visited  Rome  for  improvement, 
and  he  is  said  to  have  studied  under  Carlo  Maratti. 
During  a  residence  there  of  three  years,  he  executed 
some  plates  which  gained  him  great  reputation, 
particularly  a  portrait  of  Pope  Clement  IX.  The 
fame  of  Gerard  Audran  induced  Louis  XIV.  to 
invite  him  to  return  to  Paris  ;  and  soon  after  his 
airival  he  was  appointed  engraver  to  the  king, 
with  a  considerable  pension,  and  apartments  in  the 
Gobelins.  He  now  applied  himself  with  great  as- 
siduity, and  renewed  the  connection  with  the  cele- 
brated painter  Charles  Le  Brun,  whose  principal 
works  are  the  subjects  of  some  of  his  finest  plates. 
'  The  Battles  of  Alexander '  will  ever  be  regarded 
as  a  lasting  monument  of  their  fame.  About  the 
year  1675,  he  apparently  paid  a  second  visit  to 
Rome,  for  his  '  Four  Cardinal  Virtues,'  after  the 
picture  by  Domenichino,  in  St.  Carlo  a'  Catinari,  at 
Rome,  are  signed,  '  G.  Audran  sculp.  Romae,  1675.' 
He  died  at  Paris  in  1703,  aged  63.  The  name  of 
this  distinguished  engraver  is  familiar  to  every 
admirer  of  the  art,  which  he  may  be  said  to 
have  carried  to  the  highest  pitch  of  perfection, 
particularly  in  his  large  plates  of  historical  sub- 
jects. The  following  is  a  list  of  his  principal 
works:  they  are  signed  variously  G-  A.F.:  G.  Au. 


/■ :  Gir.  Audran  : 
Audran. 


Ge  Audran:   and  Gerardus 


PORTRAITS  AND  SUBJECTS  PBOM  HIS  OWN  DESIGNS. 

Pope  Clement  IX.,  of  the  family  of  Rospigliosi. 

Andrea  Argoli  of  Padua. 

Samuel  Sorbiere  ;  engraved  at  Rome  in  1667. 

Henri  Amauld,  Bishop  of  Angers. 

Benoit  Langlois,  Capuchin. 

Francois  du  Quesnoy,  called  Flamingo,  sculptor. 

St.  Paul  preaching  at  Athens,  vignette ;  inscribed  Non 
enim,  ^c. 

Wisdom  and  Abundance,  above  two  Genii  with  a  Ban- 
ner ;  inscribed  Louis  le  Grand.     Frontispiece,  1680. 

SUBJECTS    FROM    VARIOUS    ITALIAN   MASTERS. 

Jiueas  saving  his  father  Anchises  ;  after  Domenichino. 
The  Mystery  of  the  Rosary  ;  after  the  same. 
The  Martyrdom  of  St.  Agnes  ;  after  the  same. 
The  Temptation  of  St.  Jerome  ;  after  the  same. 
The  Four  Cardinal  Virtues,  from  the  paintings  in  the 
church  of  St.  Carlo  a'  Catinari,  at  Rome,  representing 
Justice,  Temperance,  Prudence,  and  Fortitude ;  after 
the  same.     1675, 
Two  friezes,  St.  Paul  preaching,  and  the  Descent  of  the 

Holy  Ghost,  on  one  plate  ;  after  Pietro  da  Cortona. 
Sixteen  prints— Of  the  History  of  .^neas,  in  the  Pam- 

phili  Gallery  ;  after  the  same. 
Three  plates— Of  the  Triumph  of  David,  in  the  Sac- 

chetti  Palace  ;  after  the  same. 
The  Death  of  St.  Francis  ;  after  Ann.  Carracci. 
The  Martyrdom  of  St.  Sebastian;  after  the  same. 
The  Temptation  of  St.  Anthony  ;  after  the  same. 
The  Discovery  of  Achilles  disguised ;  after  the  same. 
St.  Hyacinth  ;  an  etching ;  after  Guercmo. 
The  Magdalene,  half  length  ;  after  Guido. 
St.  Peter  walking  on  the  Sea ;  after  Lanfranco. 
The  Nativity,  a  small  plate ;  after  a  drawing  by  Palma 

*  the  1/oiwger.' 
Thuteen  Hieroglyphical  Figures ;  after  Raphael,  in  the 

Vatican. 
Fourteen  plates,  called  Emblems,  or  Cupid  and  Psyche  ; 

after  Raphael ;  in  a  loggia  in  the  Famese  garden ; 

dedicated  to  Charles  le  Brun. 
Moses  and  the  Burning  Bush  ;  after  Raphael. 
Paul  and  Barnabas  at  Lystra ;  after  the  same. 
The  Death  of  Ananias  ;  after  the  same. 
The   Descent  of  the  Saracens   in   the  Port  of  Ostia ; 

from  a  drawing  by  Raphael;  etching,  without  his 

name. 
The  Clemency  of  Scipio;  after  a  drawing  by  Raphael; 

etching,  without  his  name. 
St.  Ignatius  beaten  by  Demons  ;  after  a  drawing  by 

Rubens,  and  not  after  Raphael,  as  expressed  on  the 

plate  ;  it  is  St.  Ignatius,  and  not  St.  Paul. 
Jesus  Christ  giving  the  Keys  to  St.  Peter  in  presence 

of  the  Apostles ;  a  fine  etching ;  R.  V.  inv.,  G.  Au., 

sc. ;  very  scarce. 
Silenus  drinking ;  after  Giulio  Romano  ;  etching. 
The  Rape  of  Deianeira ;  after  the  same. 
Ganymede ;  after  Titian  ;  an  octagon. 

SUBJECTS    FROM    VARIOUS   FRENCH   MASTERS. 

Moses  taken  out  of  the  River  Nile  ;  after  Jf.  Poussin  ; 

engraved  by  BenoSt  and  Jean  Audran,  and  retouched 

by  Gerard. 
St.  John  baptizing  the  Pharisees  in  the  Jordan ;  after 

N.  Poussin  ;  two  sheets  ;  very  fine. 
The  Woman  taken  in  Adultery  ;  after  the  same  ;  fine. 
St.  Frances,  a  Roman  Saint,  kneeling  before  the  Virgin 

Mary ;  after  N.  Poussin  ;  copied  from  a  print  by  P. 

del  Po. 
The  Flight  of  Pyrrhus;  after  the  same ;  in  two  sheets; 

fine. 
Coriolanus  appeased  by  his  Family  ;  after  the  same. 
Furius  Camillus  delivering  up  the  Schoolmaster  to  his 

Pupils  ;  large  plate ;  after  the  same. 
Rinaldo  and  Armida;   after  the  same,  engraved   by 

Gerard,  assisted  by  Jean  and  Benoit  Audran. 
Daphne  changed  into  a  Laurel ;  after  the  same. 
Narcissus  ;  after  the  same. 
The  Empire  of  Flora ;  after  the  same. 
The  Plague  at  Rome ;  after  the  same, 

61 


A  BIOGRAPHICAL  DICTIONARY  OF 


Time  discoTering  Trnth ;  after  N.  Foustin  ;  a  ceiling. 

The  Plague;  after  P.  Mignard.  In  the  first  impres- 
sions of  this  plate,  the  figure  in  the  clouds  is  Juno 
with  a  Peacock  ;  in  the  latter  the  figure  is  changed 
to  that  of  the  destroying  Angel. 

Christ  bearing  His  Cross;  after  the  same. 

Three  plates— Of  the  ceiling  of  the  lesser  Gallery  at 
Versailles ;  after  the  same  ;  Apollo  and  the  Muses, 
Prudence  and  Vigilance. 

Six  plates — Of  the  ceiling  of  the  Val  de  Grace,  repre- 
senting the  Felicity  of  the  Blessed. 

The  Martyrdom  of  St.  Laurence ;  after  Le  Sueur. 

The  Martyrdom  of  St.  Gervais  and  St.  Protais ;  after 
the  same 

The  Aurora;  after  the  same;  inscribed  Zucerna  pe- 
dibus. 

Time  and  Truth  dispersing  the  Clouds  of  Ignorance ; 
after  L.  Testellin. 

Pharaoh's  Host  destroyed  in  the  Red  Sea ;  after  F. 
Verdier. 

Flight  into  Egypt ;  after  the  same. 

Battle  of  the  Saracens  ;  after  Bourguignon. 

Taking  of  the  Town  of  Damietta. 

The  Judgment  of  Solomon ;  after  Ant.  Coypel. 

The  Deluge ;  after  La  Fage. 

The  Passage  of  the  Bed  Sea ;  after  the  same. 

The  Rape  of  Proserpine ;  after  the  marble  by  Girardon. 

Moses  and  the  Burning  Bush ;  after  Chas.   le  Brun. 

The  Descent  of  the  Holy  Ghost ";  after  the  same. 

The  Stoning  of  Stephen ;  after  the  same. 

Four  sheets— Of  the  triumphal  Entry  of  Constantine 
into  Rome ;  after  the  same. 

Five  sheets  —  Of  the  Ceiling  of  the  Chapel  of  the 
chateau  of  Sceaui ;  after  the  same  ;  very  fine. 

Six  sheets — Of  the  Pavilion  of  Sceaux,  called  the 
Pavilion  of  Aurora ;  dedicated  to  Louis  XTV. ;  after 
the  same. 

Thirteen  large  sheets,  making  together  the  four  prints 
of  the  Battles,  &c.  of  Alexander  ;  after  le  Brun.  1. 
The  Passage  of  the  Granicus.  2.  The  Defeat  of 
Darius  at  Arbela.  3.  Porus  brought  before  Alex- 
ander after  his  Defeat.  4.  The  triumphal  Entry  of 
Alexander  into  Babylon. 

To  these  are  added.  The  Family  of  Darius ;  engraved 
by  Gerard  Edelinck,  and  noticed  under  his  nanie. 

[The  best  impressions  of  these  superb  prints  are  those 
marked  with  the  name  of  Goyton,  the  printer.] 

AUDRAN,  Gekmaix,  who  was  born  at  Lyons 
in  1631,  was  instructed  by  his  uncle  Charles  in  the 
art  of  engraving  in  Paris.  He  died  at  Lyons  in 
1710.  His  merit  was  considerable,  although  very 
inferior  to  that  of  some  others  of  his  family.  Ger- 
main had  four  sons,  Claude  III.,  Benoit  I.,  Jean, 
and  Louis.  He  engraved  several  plates,  consisting 
of  portraits,  and  a  variety  of  ornaments,  ceilings, 
and  vases,  amongst  which  are  the  following : 

Portraits  of  Charles  Enmianuel  II.  of  Savoy,  and  his 

wife,  in  an  oval ;  after  F.  de  la  Jlonce. 
Portrait  of  Cardinal  de  Richelieu,  in  an  oval. 
Portrait  of  Theophile  Reynauld.     1663. 
Six  sheets  of  Ceilings  ;  after  George  Charmeton. 
Six  ornaments  of  Vases ;  after  N.  Mobert. 
A  book  of  Friezes ;  after  La  Fage. 
A  book  of  views  in  Italy  ;  after  Fancus. 
Six  Landscapes ;  after  Gaspar  Foussiii. 
Thirty-one  designs — Of  Fountains,  Friezes,  &c. ;  after 

Le  Brun. 

His  plates  are  signed  with  his  surname,  and 
with  his  Christian  name,  in  the  following  forms : 
G  :  Ger :  Germ :  and  in  full. 

AUDRAN,  Jean,  the  brother  of  Benott,  and  the 
third  son  of  Germain  Audran,  was  born  at  Lyons 
in  1667  :  h'.ving  learned  the  rudiments  of  the  art 
under  his  father,  he  was  placed  under  the  care 
of  his  ur.cle,  the  famous  Gerard  Audran,  in  Paris. 
Before  he  was  twenty  years  of  age  he  displaj'ed 
uncommon  ability,  and  became  a  very  celebrated 
engraver.     In  1706  he  was  made  engraver  to  the 

62 


king,  with  a  pension  and  apartments  at  the  Gobe- 
UnB.  The  hand  of  a  great  master  is  discernible  in 
all  his  plates ;  and  without  having  attained  the 
extraordinary  perfection  of  Gerard  Audran,  his 
claim  to  excellence  is  very  considerable.  He  died 
in  1756.     His  principal  prints  are  : 

PORTRAITS. 

Louis  XV. ;  full  length  ;  after  Goberi. 

Maximilian  Emmanuel,  Elector  of  Bavarin,  with  his 
Page  ;  full  length ;  after  J'ivien. 

Clement  Augustus  of  Bavaria,  Elector-Archbishop  of 
Cologne  ;  after  the  same. 

The  Duke  d'Antin ;  after  Sigaud. 

The  Abbe  Jean  d'Estrees  ;  after  the  same. 

Victor  Marie,  Duke  d'Estrees,  Marshal  of  France ;  aft0r 
LargiUiere. 

Cardinal  Pietro  Ottoboni ;  after  Trevisani, 

Francois  de  Saliguac  de  la  Motte  Fenelon,  Archbishop 
of  Cambray  ;  after  Vivien. 

Francois  Pierre  Gillet ;  after  Tortebat. 

Fran(;ois  Robert  Secousse,  sitting  ;  after  Bigaud. 

Peter  Paul  Rubens ;  after  Van  Dyck  ;  for  the  Luxem- 
bourg Gallery, 

Noel  Coypel,  Painter  to  the  'K^ing ;  after  Coypel. 

Antoine  Coysevox,  Sculptor  to  the  Kmg ;  after  Bigaud. 

[The  two  last  were  engraved  by  Audran  for  his  recep- 
tion at  the  Academy  in  1708.] 

SUBJECTS    AFTER   VARIOUS   MASTERS. 
Our  Saviour  preaching  to  the  Multitude ;  after  Raphael. 
The  Infant  Saviour  regarding  the  Cross  presented  by 

Angels  ;  after  Albani. 
The  Nativity ;  after  Fietro  da  Cortona  ;  oval. 
The  Good  Samaritan ;  after  Ann.  Carraeci ;  arched. 
St.  John  administering  the  Sacrament  to  the  Virgin; 

after  Lcdovico  Carracei. 
Our  Saviour  on  the  Mount  of   Olives;  after  Bomeni- 

ehino. 
St.  Andrew  led  to  Crucifixion ;  after  Guido. 
The  Martyrdom  of  St.  Peter ;  after  Guido  ;  on  the  plate 

improperly  called  after  Domenichino. 
St.  Paul  preaching  at  Athens;   after  Ciro  Ferri  ;   a 

small  frieze. 
The  Triumph  of  Galatea ;  after  Carlo  Maratta  ;  for  the 

Crozat  Collection. 
The  Miracle  of  the  Loaves ;  after  Claude  Audran. 
Six  plates — Copies  of  the  large  Battles  of  Alexander ; 

by  G.  Audran. 
St.  Augustine ;  after  P.  de  Champagne. 
Simeon  holding  the  Infant  Jesus ;  after  M.  Comeilk. 
Moses  saved  from  the  Nile ;  after  Ant.  Coypel. 
Jacob  and  Laban  ;  after  the  same. 
Athalia  and  Joash ;  after  the  same. 
Esther  before  Ahasuerus ;  after  the  same. 
The  Resurrection ;  after  the  same. 
Cupid  and  Psyche ;  after  the  same. 
Our  Saviour  curing  the  Sick ;  after  Ant.  Dieu. 
Christ  bearing  His  Cross ;  after  the  same. 
The  Elevation  of  the  Cross ;  after  Van  Dyck. 
The  Crucifixion ;  after  the  same. 
The  French  Parnassus ;  after  the  bronze  by  Gamier. 
The  Miraculous  Draught  "of  Fishes;  after  Jouvenet. 
The  Resurrection  of  Lazarus ;  after  the  same. 
The  Queen  Blanche  inspired  with  the  Holy  Spirit ;  after 

the  same. 
Acis  and  Galatea ;  after  F.  Marot. 
Venus  punishing  Psyche  ;  after  J.  M.  Nattier. 
Psyche  consoled  by  Cupid ;  after  the  same. 
The  dead  Christ,  with  the  Marys,  St.  John,  and  Nico- 

demus ;  after  Foussin. 
The  Rape  of  the  Sabines;  efter  Foussin;  his  most 

esteemed  print. 
St.  Scholastica  at  the  point  of  Death ;  after  J.  Restout. 
Andromache  entreating  for  her  Son ;  after  L.  Silvestre. 
Henri  IV.  deliberating  on  his  future  Marriage ;  after 

Euhens. 
Henri  IV.  departing  for  the  German  War;  after  the 

same. 
The  Coronation  of  Marie  de  Medicis ;  after  the  same, 
[The  three  last  form  part  of  the  Luxembourg  Gallery.] 

AUDRAN,  Louis,  the  fomth  and  youngest  son 


PAINTERS  AND  ENGRAVERS. 


of  Germain  Audran,  was  bom  at  Lyons  in  1670, 
and  instructed  in  engraving  by  his  uncle  Gerard. 
He  did  not  execute  many  plates,  but  assisted  his 
brothers  in  forwarding  theirs.  He  died  atParis  about 
1712.  He  engraved  some  copies  of  the  large  plates 
executed  by  his  relatives.  There  is  a  set  of  seven 
middle-sized  plates  by  him  of  the  '  Seven  Acts  of 
Mercy,'  after  Bourdon.  He  also  engraved  after 
the  works  of  Le  Brun,  Poussin,  and  other  French 
painters. 

AUDRAN,  Prosper  Gabriel,  the  grandson  of 
Jean  Audran,  born  in  Paris  in  1744,  was  a  pupil 
of  his  uncle  Benoit  II.,  but  having  no  vocation 
for  art,  he  abandoned  it  for  the  law.  He  after- 
wards became  teacher  of  Hebrew  in  the  College 
de  France,  which  ofiSce  he  retained  until  his  death 
in  1819.     He  etched  some  studies  of  heads. 

AUER,  .loHANN  Paul,  who  was  bom  at  Nurem- 
berg in  1636,  studied  from  1654  to  1658  under 
Georg  Christoph  Eimmart  at  Ratisbon.  In  1660 
he  went  to  Venice,  and  there  received  instructions 
from  Pietro  Libri.  He  then  went  to  Rome,  where 
he  stayed  upwards  of  four  years,  and  thence 
through  Turin  and  Lyons  to  Paris,  and  so  home 
to  Nuremberg  in  1670.  He  died  in  1687.  Auer 
painted  historical,  landscape,  and  genre  pictures, 
besides  portraits  of  many  famous  personages,  for 
which  he  was  very  celebrated. 

ADERBACH,  Johann  Gottfried,  was  bom  at 
Miihlhausen,  in  Thuringia,  in  1697.  He  went  to 
Vienna,  where  he  subsequently  rose  to  great  fame 
as  a  portrait  painter.  He  was  court-painter  to  the 
Emperor  Charles  VI.,  and  also  to  the  Empress  Maria 
Theresa.  He  died  in  Vienna  in  1753.  In  the  Bel- 
vedere Gallery  there  is  a  portrait  of  Charles  VI. 
by  him :  he  also  painted,  in  1728,  the  heads  of 
Charles  VI.  and  Count  von  Althan,  in  the  large 
picture  by  Solimena,  in  the  same  gallery,  which 
represents  the  Emperor  receiving  from  the  Count 
the  inventory  of  the  Royal  Picture  Gallery.  A 
'  St.  Anne,'  by  Auerbach,  is  in  the  church  of  St. 
Margaret  in  Vienna.  He  engraved  a  plate  of  him- 
BeK  painting  the  portrait  of  his  wife. 

AUERBACH,  Karl,  son  of  Johann  Gottfried 
Auerbach,  was  bom  at  Vienna  in  1723,  and  became, 
imder  his  father's  instruction,  a  talented  painter  of 
portraits  and  history.  The  cathedral  of  St.  Stephen 
in  Vienna  possesses  an  altar-piece  and  a  ceiling- 
painting  by  him.  At  Hetzendorf  and  Innsbruck 
there  are  also  examples  of  his  art.  Karl  Auerbach 
died  in  Vienna  in  1786  (or  1788). 

AUGUSTIN,  Jean  Baptiste  Jacques,  a  minia- 
ture painter  in  enamel,  was  born  at  St.  Die  (Vosges), 
in  1759.  He  went  to  Paris  in  1781,  where  he 
struggled  against  the  bad  taste  then  prevailing,  and 
regenerated  the  almost  forgotten  art  practised  by 
Petitot.  In  1819  he  was  appointed  miniature 
painter  to  the  King,  and  in  1821  was  honoured 
with  the  title  of  Chevalier  de  la  Legion  d'Honneur. 
His  miniatures,  which  are  distinguished  by  purity 
of  design,  vigour  of  tone,  and  richness  of  colour, 
are  eagerly  sought  for  by  collectors.  Amongst 
the  finest  portraits  produced  by  him  are  those  of 
'Napoleon  I.,'  'The  Empress  Josephine,'  'Louis 
Buonaparte,'  'Caroline  Murat,'  'Louis  XVIII.,' 
'  The  Duke  of  Angouleme,'  '  Baron  Denon,'  '  Gi- 
rodet  the  Painter,'  'Lord  William  Bentinck ; '  and 
especially  his  female  portraits  after  Greuze.  He 
died  of  cholera  in  Paris  in  1832. 

AUGUSTINI,  Jan,  who  was  bom  at  Groningen 
in  1725,  studied  under  Philip  van  Dijk.  He 
painted  flowers  with  some  degree  of  merit ;  and  his 


portraits  were  considered  to  possess  an  astonish- 
ing resemblance.  He  died  at  Haarlem  in  1773, 
according  to  Van  der  Willigen  and  Van  Eynden, 
although  Terwesten  says  he  was  still  living  there 
in  1776. 

AULNE,  De  l'.     See  Delaune. 

ADROUX,  Nicolas,  an  engraver,  who  was  bom 
at  Pont-Saint-Esprit  (Gard),  worked  in  Lyons  and 
Turin  in  the  middle  of  the  17th  century.  Heineken 
speaks  of  four  portraits  by  him,  and  a  print  of  the 
'  Virgin  Mary  holding  the  Infant  Saviour,  with  St. 
John  kissing  His  foot.'  There  is  also  a  Frontis- 
piece by  him  to  the  second  volume  of  Daniel 
Sennert's  Opera  medica;  dated  1650. 

In  Meyer's  '  Kiinstler-Lexikon '  there  is  a  list  of 
30  engravings  by  him. 

AUSTIN,  Richard  T.,  who  flourished  in  London 
in  the  beginning  of  the  19th  century,  studied 
under  John  Bewick,  and  became  a  wood-engraver 
of  moderate  abihty.  He  was  chiefly  employed 
by  the  booksellers.  He  executed  the  cuts  for 
Linnjeus's  'Travels  in  Lapland,'  published  in  1811, 
and  occasionally  painted  landscapes. 

AUSTIN,  Samuel,  was  in  early  life  a  banker's 
clerk  in  Liverpool.  In  1824  he  went  to  London 
and  joined  the  Society  of  British  Artists,  with 
whom  he  exhibited  for  three  years.  He  then,  in 
1827,  became  an  associate  member  of  the  Society 
of  Painters  in  Water  Colours,  and  contributed 
landscapes  and  sea-side  pictures  to  their  exhibi- 
tions, until  his  death  in  1834. 

AUSTIN.  William,  an  English  engraver,  bom 
in  London  in  1721.  He  was  instructed  in  the  art 
by  George  Bickham,  and  has  engraved  some  plates 
of  landscapes,  after  Van  der  Neer,  Ruisdael,  and 
Zuccarelli.  His  ptincipal  works  were  a  set  of  six 
plates  of  '  Views  of  Ancient  Rome,'  and  four  of  the 
'  Ruins  of  Palmyra.'    He  died  at  Brighton  in  1820. 

AUSTRIA,  Don  Juan  of.     See  Juan. 

AUTGUERS,  G.,  a  French  engraver,  who  resided 
at  Lyons  about  the  year  1623,  worked  chiefly 
for  the  publishers,  and  engraved  some  portraits 
and  other  book  plates,  which  are  very  indifferently 
executed. 

AUTISSIER,  Louis  Marie,  who  was  born  at 
Vannes,  in  Brittany,  in  1772,  studied  art  under 
Vautrin,  and  then  passed  some  time  as  a  soldier. 
He  afterwards  settled  at  Brussels,  and  devoted 
himself  to  miniature  painting,  and  became  famous 
for  his  portraits.  The  following  years  of  his  life 
were  divided  between  Belgium,  Holland,  and 
France.  He  exhibited  works  at  Brussels,  Ghent, 
Antwerp,  Amsterdam,  and  Paris  ;  and  was  much 
employed  in  painting  miniature  portraits  of  the 
sovereigns,  nobility,  and  celebrities  of  Belgium 
and  the  Netherlands.  Autissier  occasionally  exe- 
cuted historical  works  also  in  miniature.  He  died 
at  Brussels  in  1830.  At  one  time  of  his  life  he 
adopted  the  Christian  names  of  Jean  Prangois, 
which  his  father  bore. 

AUTREAU,  Jacques,  a  French  portrait  painter 
and  dramatic  poet,  was  bom  in  Paris  in  1657.  He 
died  in  1746.  His  portrait  of  himself  is  in  the 
Musee  of  Versailles. 

AUTREAU,  Louis,  the  son  of  Jacques  Autreau, 
painted  portraits  and  genre  subjects.  He  was 
born  about  1692  in  Paris,  where  he  died  in  1760. 
It  is  doubtful  whether  some  portraits  are  by  the 
father  or  by  the  son. 

AUVRAY,  Joseph  F^lix  Henri,  a  French  his- 
torical painter,  was  bom  at  Cambrai  in  1800.  He 
was  a  pupil  of  Momal  in  Valenciennes,  and  after- 

63 


A  BIOGRAPHICAL  DICTIONARY  OF 


■wards  of  Gros  in  Paris.  He  exhibited  in  1824, 
•St.  Louis  a  Prisoner,'  and  in  1827,  '  Gautier  de 
Chfitillon  defending  St.  Louis  against  tlae  Saracens,' 
now  in  the  Museum  of  Cambrai ;  '  St.  Paul  at  Athens,' 
&c.    He  died  in  1833,  in  his  native  city. 

ADVRAY,  PiEBRE  Laubent,  a  French  engraver, 
who  was  bom  in  Paris  in  1736,  studied  the  art  of 
engraving  under  Cars.  He  practised  in  Paris  and 
in  Basle.  He  engraved  portraits  of  French  come- 
dians and  other  subjects. 

AUZOU,  Pauline,  -nJee  Desmabqdets,  a  distin- 
guished paintress  of  familiar  subjects  and  portraits, 
was  born  in  Paris  in  1775.  She  was  instructed 
by  Regnault ;  and  several  of  her  interesting  pic- 
tures, purchased  by  the  French  Government,  the 
Duchess  de  Berri,  and  the  Society  of  Friends  to 
the  Arts,  have  been  engraved.  Two  scenes  fiom 
the  Life  of  the  Empress  Marie-Louise,  by  her,  are 
dt  Versailles.    Madame  Auzou  died  in  1835  in  Paris. 

AVANZI,  Degli  (or  De  Avaciis).     See  Degli 

AVANZI. 

AVANZI,  Giuseppe,  was  born  at  Ferrara  in 
1645,  and  studied  under  Costanzo  Cattaneo.  He 
painted  many  pictures  for  the  churches  and  con- 
vents in  that  city,  which  are  particularly  noticed 
in  Guarini's  description  of  the  pictures  and  sculp- 
ture of  Ferrara.  In  the  church  of  the  Madonna 
della  Pieta  are  four  pictures  of  subjects  from 
the  hfe  of  St.  Gaetano,  and  in  the  church  of  San 
Doraenico  is  the  '  Marriage  of  St.  Catharine,'  con- 
sidered his  best  work.  In  San  Giuseppe  are  tsvo 
scenes  from  the  life  of  St.  Thekla,  the  •  Annuncia- 
tion,' and  '  Visitarion  of  the  Virgin,'  scenes  from 
the  '  Life  of  Christ,'  and  other  pictures.  Numerous 
other  churches  in  Ferrara  possess  examples  of  the 
art  of  Avanzi,  who  was  one  of  Ferrara' s  best 
painters.     He  died  in  1718. 

AVANZI,  Jacopo,  (or  Da  Vanzo,)  of  Verona, 
has  long  been  confused  with  Jacopo  degli  Avanzi 
of  Bologna;  but  the  remains  of  an  inscription 
in  the  CappeUa  San  Giorgio  point  to  Verona  as 
the  birthplace  of  Avanzi.  He  painted  decor- 
ations, in  conjunction  with  Alrichiero  da  Zevio, 
in  the  CappeUa  San  Felice  and  the  Cappella  San 
Giorgio  in  the  church  of  Sant'  Antonio  at  Padua, 
in  1377.  It  appears  that  the  principal  frescoes 
in  the  CappeUa  San  Felice  were  the  work  of  Alti- 
chiero ;  and  of  those  in  the  CappeUa  San  Giorgio, 
which  were  recovered  from  oblivion  in  1837  by 
Dr.  E.  Forster,  the  part  to  be  assigned  to  Alrichiero 
has  given  rise  to  much  dispute  ;  but  it  is  thought 
by  some  authorities  that  Avanzi  executed  the 
principal  portion.  The  frescoes  represent  tlie 
earlier  part  of  the  '  History  of  our  Lord,'  the 
'Coronation  of  the  Virgin,'  the  'Crucifixion,'  and 
'  Legends  of  St.  George,  St.  Catharine,  and  St. 
Lucy.'  They  prove  the  painter  to  have  been  an 
artist  of  no  common  genius,  and  Kugler,  in  his 
description  of  them,  speaks  of  his  art  as  being 
above  that  of  his  contemporaries.  Avanzi  also 
painted  two  triumphal  processions  in  a  public  hall 
of  Verona,  which  have  long  since  perished.  He 
died  about  the  end  of  the  14th  century. 

AVANZINO,  Nucci,  called  from  his  birthplace 
'  Avanzino  da  Citta  di  Castello,'  was  bom  in  1551. 
When  he  was  still  young  he  visited  Rome,  and 
became  the  pupil,  and  subsequently  assistant,  of 
Niccolo  Pommerancio.  During  the  pontificates  of 
Sixtus  V.  and  Clement  VIII.  this  painter  was  held 
in  great  esteem,  and  employed  in  the  loggie  of 
San  Giovanni  in  Laterano.  He  also  painted  many 
pictures  for  the  churches  in  Rome,  of  which 
64 


Baglioni  gives  a  particular  account.  Among  his 
best  works  may  be  considered  his  paintings  in 
fresco  in  San  Paolo  fuori  le  mura,  representing 
the  '  Miracle  of  the  Serpent  in  the  Isle  of  Malta,' 
the  '  Decollation  of  St.  Paul,'  and  his  '  Taking  up 
into  the  third  Heaven.'  Avanzino  died  at  Borne 
in  1629. 

AVECEDO,  Ceistobal,  a  Spanish  painter,  some- 
time scholar  of  Bartolom^  Carducho  at  Madrid. 
A  Slurcian  bom,  he  is  enumerated  with  the 
nobilities  of  the  city  by  the  narive  poet,  Jacinto 
Polo  de  Medina.  He  painted  for  the  chapel  of 
the  College  of  San  Fulgencio,  in  Murcia,  a  large 
picture  of  that  saint  adoring  the  blessed  Virgin ; 
this,  with  other  works  executed  for  convents,  gives 
a  favourable  impression  of  his  powers.  He  flour- 
ished in  the  beginning  of  the  18th  century. 

AVED,  Jacques  Akdbe  Joseph,  who  was  bom 
at  Douai  in  1702,  received  his  first  instruction  in  art 
from  Bernard  Picart.  After  some  time  spent  in  travel- 
ling in  the  Netherlands,  he  went  in  1721  to  Paris,  and 
entered  the  studio  of  A.  S.  BeUe.  At  that  time  he 
enjoyed  the  friendship  of  Carle  van  Loo,  Boucher, 
Chardin,  and  other  celebrated  painters.  He  soon 
rose  to  great  fame  through  his  portraits,  which  he 
painted  finely  and  carefully.  In  1738  Rousseau 
sat  to  him  ;  in  1751  he  went  to  the  Hague,  and 
painted  the  portrait  of  William  IV.  Soon  after  he 
executed  the  portrait  of  Louis  XV.,  and  weis  made 
painter  to  the  king.  Aved  exhibited,  at  intervals, 
at  the  Paris  Salons  from  1737  to  1759.  He  died  at 
Paris  in  1766.  A  portrait  by  him  of  the  Marquis 
de  Mirabeau  is  in  the  Louvre.  His  works  have 
been  engraved  by  Balechou,  L^picid,  MeUini,  Daul6, 
and  others. 

AVEELEN,  Jan  van  den.   See  Van  den  Aveelen. 

AVELINE,  Antoine,  a  French  designer  and 
engraver,  bom  in  Paris  about  the  year  1691.  He 
was  probably  the  son  and  pupil  of  Pierre  Aveline, 
'the  elder,'  ^vith  whom  he  has  been  confused  by 
Heineken,  Le  Blanc,  and  others.  Antoine  died  in 
Paris  in  1743.  He  engraved  a  number  of  plates  of 
landscapes,  and  views  of  the  palaces  and  chSteaux 
in  France  and  other  parts  of  Europe,  executed  in 
a  neat  and  agreeable  style.  The  following  are 
worthy  of  notice  : 

Innocence ;  after  F.  Boucher. 

Six  volumes  "of  Ornaments  and  Figures  a  Is  mode ;  after 

Mondon,JUs. 
Eight  Views  of  French  Chateaux. 
Four  Views  of  French  Towns. 
Four  Plates  for  '  Nouvelle  Description  de  la  Ville  de 

Paris,'  bi/  Germain  Brice. 

AVELINE,  Francois  Antoine,  who  was  bom  in 
Paris  in  1727,  was  the  son  of  Antoine,  and  cousin 
and  scholar  of  Pierre  '  the  younger,'  but  did  not 
equal  him  in  talent.  He  worked  chiefly  for  the 
booksellers  at  Paris,  and  afterwards  removed  to 
London ;  but  either  had  not  sufficient  abiUty  or 
industry  to  succeed,  for  he  died  there  in  indigence 
in  1762.     We  have  the  foUowing  plates  by  him : 

Neptune  calming  the  raging  waves ;  after  Boucher, 

The  Four  Seasons ;  copied  from  Pierre  Aveline. 

Chinese  figures ;  six  plates  ;  after  Botieher. 

The  Chinese  Bark ;  after  the  same. 

The  Spanish  Musician ;  after  J.  J'elsen. 

The  Flemish  Musician ;  after  D.  Tefiiers. 

View  of  a  Port  in  the  Levant ;  after  Vernet. 

Chinese  figures  and  subjects ;  siiplates ;  after  Pillement. 
London,  1759. 

AVELINE,  Pierre,  '  the  elder,'  was  bom  in  Paris 
in  1660.  He  studied  under  Adam  PereUe,  and 
engraved  landscapes,  views  of  towns,  and  garden 


PAINTERS  AND  ENGRAVERS. 


■cenes  in  the  maimer  of  his  master.  He  died, 
according  to  Mariette,  in  1722.  The  following  are 
gome  of  his  best  plates  • 

Nine  Costvune  plates. 

Six  Sea-riews  (with  Fouard) ;  after  J.  van  Seecq. 

Eighteen  Landscapes ;  marked  Aveline  inv :  etfec. 

Numerous  Views  in  Paris. 

Numerous  Views  of  French  Chateaux. 

AVELINE,  Pierre  Alexandre,  'tne  younger,' 
a  French  designer  and  engraver,  was  born  in  Paris 
in  1710.  He  was  a  nephew  of  Antoine  Aveline. 
He  was  instructed  in  the  art  by  Jean  Baptiste  de 
Poilly.  His  drawing,  though  not  very  incorrect,  is 
rtifE  and  formal.  It  is,  however,  to  be  regretted 
that  he  did  not  make  a  better  selection  of  subjects 
for  the  exertion  of  his  talent,  and  that  he  employed 
a  great  portion  of  his  time  in  triiiing  and  insig- 
nificant sketches.  He  died  in  Paris  in  1760.  The 
following  are  his  prints  most  worthy  of  notice  : 

SDBJECTS    FROM    HIS   OWN   DESIGNS. 

Foot  plates  of  the  Seasons,  represented  by  Children. 

Five  Plates  of  the  Senses. 

Four  Plates  of  the  Quarters  of  the  World. 

Venus  at  her  Toilet.  ' 

Bacchus  and  Ariadne. 

SDBJECTS   AFTER   DIFFERENT   MASTERS. 

The  Cardinal  de  Fleury,  accompanied  by  the  Virtues ; 

after  Chevallier. 
The  Wrath  of  Neptune ;  after  Albani  ;  inscribed  Qms 

ego. 
Jupiter  and  lo ;  after  Schiavone  ;  for  Crozat  CoUeetion. 
Diana  and  Actseon  ;  after  J.  Bassano;  for  the  same. 
The  infant  Moses  brought  to  the  Daughter  of  Pharaoh 

after  Giorgioyie. 
Departure  of  Jacob ;  after  Castiglione;    \  for  the  Dres- 
Noah  entering  the  Ark ;  after  the  same;  (   d^n  Gallery. 
The  Death  of  Seneca ;  after  Luca  Giordano. 
Christ  healing  the  Sick ;  after  Jouveiiet. 
A  Landscape ;  after  Nicolaas  Berchetn  ;  fine. 
The  fortunate  Accident ;  after  Van  Falens. 
Folly  ;  after  Corn.  Visscher. 
The  Birth  of  Bacchus ;  after  F.  Boucher. 
The  Rape  of  Europa ;  after  the  same. 
Three  Subjects  of  Cupid ;  after  the  same. 
La  Belle  Cuisiniere ;  after  the  same. 
Venus  and  Cupid  ;  after  the  same. 
The  prudent  Shepherdess ;  after  the  same. 
The  Rape  of  Helen ;  after  Deshayes. 
Maeas  succoured  by  Apollo ;  after  the  same. 
Hans  Carvel's  Ring ;  after  J.  L.  Laurain. 
La  Place  Maubert,  Paris ;  after  Jeaurat. 
The  Flemish  Trio;  after  A.  van  Ostade. 
A  Dog,  with  Game ;  after  Oudry. 
A  pair — One,  a  Boy  with  a  Mouse ;  the  other,  a  Girl 

with  a  Cat ;  after  0.  Parrocel. 
Diana  at  the  Bath ;  after  Watteau. 
The  Rape  of  Europa ;  after  the  same. 
The  Charms  of  Life ;  after  the  same. 
Italian  Recreation ;  after  the  same. 

AVELLI.     See  Xanto  Avblli. 

AVELLINO,  GiULio,  or  Giacinto,  d',  called  II 
Messinese,  was  a  SicOian,  bom  at  Messina  about  the 
year  1645.  He  is  said  to  have  been  a  scholar  of 
Salvator  Rosa,  at  Naples,  and  painted  landscapes 
in  the  grand  style  of  that  master.  After  visiting 
Rome,  Venice,  and  other  important  cities  of  Italy, 
he  settled  at  Ferrara,  where  landscape  painting, 
since  the  time  of  Dossi,  had  been  almost  abandoned, 
and  was  much  employed  by  the  nobility  of  Ferrara, 
as  well  as  of  Cremona,  and  it  is  in  those  cities 
that  his  works  must  be  sought.  He  enriched  his 
landscapes  with  ruins,  architecture,  and  figures, 
spiritedly  designed,  and  boldly  touched.  Avel- 
lino's  works  are  highly  prized  and  much  sought 
after.     He  died  in  1700,  at  Ferrara. 


AVELLINO,  Onofrio.  According  to  Dominici 
this  painter  was  bom  at  Naples  in  1674 ;  he 
studied  under  Lnca  Giordano,  and  subsequently 
with  Francesco  SoUmena.  He  afterwards  passed 
some  years  at  Rome,  where  he  painted  the  vault  of 
the  church  of  San  Francesco  di  Paola,  which  is 
considered  his  best  performance.  In  the  church  of 
Santa  Maria  di  Monte  Santo  is  an  altar-piece  by  this 
master,  representing  a  subject  from  the  Life  of  St. 
Albert.  He  died  in  1741.  Avellino's  copies  of  the 
works  of  his  masters  were  so  successful  that  they 
have  passed  for  originals. 

AVELLO,  Franc.  Santo.    See  Urbino,  Rov.  da. 

AVEMANN,  Wolf,  a  native  of  Nuremberg,  was 
a  pupil  of  Hendrik  van  Steenwijk,  and  painted 
interiors  of  churches  and  other  buildings  in  the 
manner  of  his  master.  After  the  year  1620  he 
left  Nuremberg  and  went  to  Hesse,  where  he  met 
with  a  violent  death. 

AVERARA,  Giovanni  Battista,  (or  Averakia, 
or  Avernaria,)  was  bom  at  Bergamo  about  t'le 
year  1608.  The  name  of  his  instructor  in  art  is 
not  known,  but  he  formed  his  style  of  colouring 
from  the  works  of  Titian.  Ridolfi  mentions  some 
fresco  paintings  by  this  master  in  favourable 
terms,  particularly  two  pictures  in  the  church  of 
San  Francesco,  at  Bergamo ;  he  also  executed  works 
in  the  Palazzo  del  Podesta  in  that  city.  He  painted 
landscape  and  architecture,  and  was  greatly  cele- 
brated in  his  day  for  his  observance  and  skilful 
representation  of  nature,  not  only  in  the  scenery, 
but  in  the  figures  and  animals  with  which  he  orna- 
mented his  pictures.  The  beauty  of  his  tints,  the 
design  of  his  infant  figures,  and  the  nature  of  his 
landscapes,  all  8ho\^  that  he  aspired  to  the  Titian 
manner.  Muccio,  in  his  '  Teatro  di  Bergamo,'  calls 
him  a  universal  genius.     He  died  in  1548. 

AVERCAMP,  Hendrik  van,  was  sumamed  'de 
Stomme  van  Kampen'  ('the  Mute  of  Karapen '), 
— a  name  Immerzeel  tells  us  he  obtained  on  ac- 
count of  his  taciturnity.  He  was  probably  bom 
at  Kampen  about  the  end  of  the  16th  century,  and 
lived,  it  is  said,  at  the  Hague.  He  produced  many 
pictures,  principally  landscapes  ornamented  with 
cattle,  and  marine  subjects  ;  but  they  have  lost 
much  of  their  value  on  account  of  their  change  of 
colour.  His  favourite  subjects  were  winter  scenes. 
The  Dresden  Gallery  has  two  Dutch  Kermesses  on 
the  ice ;  and  other  paintings  by  him  are  in  the 
Galleries  of  Berlin,  Rotterdam,  Antwerp,  and  in 
many  private  collections  in  Germany.  His  draw- 
ings with  the  pen,  and  in  black  chalk,  are  still 
held  in  great  estimation.  They  are  met  with  in 
several  of  the  collections  of  Germany  and  Holland; 
the  Stadel  Collection  at  Frank-  t  TTT  y  y 
fort;  the  Albertina  Gallery  at  \j  \\  UJ 
Vienna  ;  the  Berlin  Museum,  and  *i  J.  X 

elsewhere. 

AVERNARIA.     See  Averara. 

AVIANI,  Francesco,  a  native  of  Vicenza,  flour- 
ished about  the  year  1630.  He  excelled  in  paint- 
ing perspective  and  architectural  views,  which 
were  frequently  embellished  with  figures  by  Giulio 
Carpioni.  Hia  pictures  usually  represent  the  most 
remarkable  views  in  Venice.  He  also  produced 
some  landscapes  and  sea-ports. 

AVIBUS,  Gaspako  ab.    See  Osello. 

AVICE,  Chevalier  Henri  d'.  This  amateur 
etched  for  his  amusement  some  piates  in  a  slight, 
though  spirited  style,  after  N.  Poussin,  and  other 
masters  ;  of  these  the  most  esteemed  is  a  middle- 
sized  plate  of  the  '  Adoration  of  the  Magi,'  after 

65 


A  BIOGRAPHICAL  DICTIONARY  OF 


Poussin.     Avice  flourished  in  the  middle  of  the 
17th  century. 

AVIGNON,  MiGNARD  d'.    See  Mignard. 

AVILA,  AndrSs  Sanchez  d'.    See  Sanchez  d' 

AVILA. 

AVILA,  Francisco,  was  a  portrait  painter  of 
Seville,  who  flourished  in  the  17th  century,  and 
was  distinguished  for  the  suavity  of  his  colour 
and  the  truth  of  his  likenesses. 

AVILA,  Hernando  de,  painter  and  sculptor  to 
Philip  II.  of  Spain,  flourished  in  the  middle  of  the 
16th  century.  He  was  a  pupil  of  Francisco 
Comontes.  He  executed,  in  1568,  an  altar-piece 
of '  St.  John  the  Baptist,'  and  the '  Adoration  of  the 
Kings,'  for  the  cathedral  of  Toledo. 

AVISSE,  FRANgois  Remi  Joseph,  a  French  genre 
painter,  who  was  born  at  Douai  in  1763.  He 
studied  in  Antwerp,  and  died  in  his  native  town 
in  1843. 

AVOGADRO,  PlETRO,  was  a  native  of  Brescia, 
and  flourished  about  the  year  1730.  He  was  a 
scholar  of  Pompeo  Ghitti,  whose  style  he  foUowed 
with  a  mixture  of  Venetian  colouring,  especially 
in  the  carnations.  The  contour  of  his  figures  is 
graceful,  and  the  general  effect  of  his  pictures  is 
harmonious  and  pleasing.  His  principal  work  is 
the  'Martyrdom  of  SS.  Crispin  and  Crispinian,' 
in  the  church  of  San  Giuseppe,  at  Brescia.  In 
the  church  of  San  Francesco  are  five  pictures 
illustrating  the  'Life  of  St.  Peter,'  in  the  chapel 
dedicated  to  that  saint.  Works  by  him  are  in 
other  churches  of  Brescia.  Lanzi  observes  that, 
in  the  opinion  of  many,  Avogadro  holds  the 
first  place  in  Brescian  art,  after  the  three  great 
painters  in  Brescia  —  Bon\'icino,  Gambara,  and 
Savoldo. 

AVONSTERN.    See  Seuter,  Dan. 

AVONT,  Peeter  van,  was  baptized  at  Mechlin 
on  the  14th  of  January,  1600  ;  the  day  of  his  birth 
is  not  recorded.  His  teacher's  name,  too,  is  not 
known.  In  the  year  1622-23  he  was  made  free 
of  the  Guild  of  St.  Luke  at  Antwerp,  and  his  name 
occurs  at  intervals  in  its  records,  as  well  as  in  those 
of  the  city,  till  liis  death,  which  took  place  at 
Deume,  near  Antwerp,  in  1652.  He  painted  land- 
scapes, enriched  with  figures  well  drawn,  and 
touched  with  great  spirit.  He  frequently  decor- 
ated the  landscapes  of  Vinckenboons,  Jan  Brueghel, 
the  elder  and  theyoimger,  Jan  WUdens,  Lodowijck 
de  Vadder,  and  other  painters.  Three  signed  land- 
scapes by  him  are  in  the  Belvedere  Gallery,  two 
with  '  Holy  Families,'  and  one  with  '  Flora  and 
Genii.'  The  Munich  Gallery  has  a '  Holy  Family,'  in 
a  landscape,  the  joint  production  of  Avont  and 
Jan  Brueghel,  the  elder.  The  Liechtenstein  Gallery 
also  has  three  pictures  by  Avont.  Antwerp,  in  its 
churches  and  private  collections,  has  examples  of 
his  art.  The  etchings  of  Avont  are  rare,  and  not 
all  which  are  ascribed  to  him  are  genuine.  The 
following  are  some  of  the  plates  j  a  T  T  /A 
which  have  been  engraved  after  7  Ar  V  ^-\ 
his  works:  L     /\     V         V 

The  Virgin  Mary,  with  the  Infant  Jesus,  St.  John,  and 

St.  Elisabeth. 
The  Virgin  suckling  the  Infant,  with  St.  John  and  an 

Angel. 
The  Virgin  and  Infant  in  the  Clonds :  inscribed  Segina 

Cceli. 
The  Magdalene  ascending  to  Heaven. 
Twenty-four  email  plates  of  Children,  on  each  plate  a 

Child  and  an  Angel.     They  were  entitled  Ptedopa- 

gnion,  and  engraved  by  Hollar. 
The  Four  Elements,  represented  by  Four  Children. 
66 


Two  Bacchanalian  subjects  of  Children ;  one,  Bacchos 
drawn  in  his  Car ;  the  other,  Bacchus  carried  by  Fear 
Children;  Pet.  van  Avont,  inv.,fec.,  et  exc. 

AVRIL.  Jean  Jacques,  '  the  elder,'  was  bom  at 
Paris  in  1744 ;  he  was  a  scholar  of  J.  G.  Wille, 
and  has  engraved  several  plates,  which  are  de- 
servedly admired.  He  died  in  Paris  in  1831 .  By 
him  we  have  about  540  pieces,  some  of  large 
dimensions,  among  which  are : 

La  Vierge  au  linge  ;  after  Raphael. 

Mars  going  to  Battle ;  after  Rubens. 

Mars  returning  from  Battle  ;  after  the  same. 

A  Shepherd  and  Shepherdess ;  called  the  Croo-en-jamh» 

after  the  same. 
Apollo  with  the  Seasons,  dancing ;  after  Poussin. 
Diana  and  Actseon  ;  after  Albani. 
Diana  and  Callisto ;  after  the  same. 
Venus  revenging  herself  on  Psyche ;  after  De  Troy. 
Pygmahon  and  Galatea ;  after  Marillier. 
St.  Genevieve ;  after  C.  van  Loo. 
Fishermen  returning ;  after  Vernef. 
Travellers  in  a  Storm ;  after  the  same. 
The  Shipwreck;  dated  1775 ;  after  the  same. 
The  Double  Recompense  of  Merit;  after  P.  A.  Wille, 

1784. 
French  Patriotism;  after  the  same.    1788. 
The  Taking  of  Courtrai ;  after  Van  der  Meulen.    1782. 
The  Passage  of  the  Rhine ;  after  Berchem. 
Catherine  II.  on  her  Travels ;  after  F.  de  Megs.      1790. 
Ulysses  and  Penelope ;  after  Ze  Barbier. 
Combat  of  the  Horatii  and  Curiatii;   after  the  same. 

1787. 

AVRIL,  Jean  Jacques,  '  the  younger,'  who  was 
born  in  Paris  in  1771,  was  the  son  of  J.  J.  Avril, 
the  elder.  He  studied  under  Le  Barbier,  Suvee, 
and  Bervic,  and  engraved  some  excellent  plates 
from  pictures  by  the  old  masters,  as  well  as  many 
plates  of  sculpture  in  the  Louvre,  for  the  '  Musee 
Fran9ais.'  He  died  in  Paris  in  1835. 
AXARETO,  Giovacchino.    See  Assebeto.  J 

AXELT,  Johann.    See  Azelt.  I 

AXMANN,  Joseph,  an  engraver,  who  was  born 
at  Briinn  in  1793,first  studied  drawing  and  painting 
under  J.  J.  Weidlich,  and,  later,  engraving  under 
Blascloke  at  Vienna.  He  died  at  Salzburg  in  1873. 
Among  his  works  are : 

Landscape ;  after  J.  d'Arthois. 

Samson  ;  after  Van  Dijck. 

Moonlight  Scene ;  after  Van  der  Keer. 

The  Styrian  Charcoal  Burners ;  after  Gauermann. 

Madonna ;  after  Murillo. 

Francis  I.,  Emperor  of  Austria;   after  Schiavone,  and 

after  Sckicager. 
Elizabeth,  Empress  of  Austria ;  after  Sehwager. 

AXTMANN,  Leopold,  a  clever  animal  painter, 
born  at  Fulnek,  in  Moravia,  in  1700,  was  the  pupil 
of  John  George  Hamilton  of  Vienna,  and  rivalled 
him  in  reputation.  He  settled  at  Prague,  and  died 
there  in  1748.  He  excelled  in  painting  dogs  and 
horses  ;  there  are  several  good  pictures  by  him  in 
Bohemia. 

AYALA,  Bernabe,  an  historical  painter,  who 
was  born  at  Seville  in  the  begiiming  of  the  17th 
century,  studied  under  Zurbaran,  and  imitated 
his  manner  in  his  tints  and  draperies.  No  doubt 
many  of  his  pictures  are  now  mistaken  for  the 
work  of  his  master.  He  was  one  of  the  founders 
of  the  Academy  at  Seville  in  1660,  and  was  a 
member  of  it  until  1671 ;  but  as  his  name  does  not 
appear  with  the  subscribers  to  the  statutes  in  1673, 
it  is  supposed  that  his  death  occurred  between 
those  years.  The  Museum  of  Seville  has  six  of 
his  works,  and  there  are  others  in  the  churches  of 
that  city  and  of  Madrid. 

AYBAR  XIMENEZ,  Pedro,  a  Spanish  painter, 


PAINTERS  AND  ENGRAVERS. 


was  pupil  of  F.  Ximenez,  whose  style  he  imitated. 
He  painted  historical  subjects,  and  the  pictures  he 
produced  in  Calatayud,  in  1682,  are  praised  for 
their  composition,  design,  and  colour.  There  is  no 
account  of  him  after  that  year. 

AYERBE.     See  Arbos. 

AYLESFORD,  Heneage  Finch  fourth  Earl  of, 
previously  Lord  Guernsey,  who  was  bom  in  London 
in  17.51,  practised  art  as  an  amateur  with  much 
success.  He  was  an  honorary  exhibitor  at  the 
Royal  Academy  from  1786  to  1790.  His  works  are 
chiefly  water-colour  drawings  of  architectural  and 
rural  subjects:  he  also  executed  several  etchings. 
He  died  in  1812. 

AZEGLIO.    See  Taparelli  d'  Azeglio. 

AZELT,  JoHANN,  (or  Axelt,)  who  was  born  in 
1654,  appears  in  Nuremberg  records  under  various 
names— Arzold,  Arzoldt,  and  Atzold.  He  seems 
to  have  confined  himself  almost  entirely  to  por- 
traits, which  are  but  indifferently  executed.  He 
engraved : 

The  Emperor  Joseph  I. ;  after  A.  Manneman. 

Georg  Friedrich,  Prince  of  Waldeck. 

A  set  of  Portraits  of  the  Kings  of  Spain,  Himgarj,  and 
Bohemia,  &c. ;  and  many  of  the  plates  in  Freher^s 
Thiatrum  Virorum  Eruditione  Clatorum. 

AZZERBONI,  Giovanni,  an  Italian  engraver, 
was  a  pupil  of  Guglielmo  Morghen.  He  worked 
at  Rome  towards  the  end  of  the  18th  century,  and 
appears  to  have  died  before  1810.  He  engraved 
'  The  Magdalene,'  after  Guercino. 

AZZOLINI,  Giovanni  Bernardo,  or  Bernardino, 
—  called  Mazzolini  or  Massolini  —  was  born  at 
Naples  about  the  year  1560.  He  went,  in  1610,  to 
Genoa,  where  there  are  several  of  his  works  in  the 
churches  and  convents,  and  in  private  collections. 
Two  pictures  by  him,  in  Genoa,  are  mentioned  by 
Soprani  as  works  of  great  merit :  the  one  an 
'  Annimciation,'  painted  for  the  high  altar  of  the 
'  Monache  Turchine,'  and  the  other  a  '  Martyrdom 
of  St.  Apollonia,'  in  the  church  of  San  Giuseppe. 
Azzolini  also  worked  in  Naples  and  Rome.  He 
excelled  in  wax-work,  and  formed  heads  with  an 
absolute  expression  of  life. 


B 

BAADE,  Knud,  a  marine  and  landscape  painter, 
was  bom  in  Skiold,  in  South  Norway,  in  1808,  and 
removed,  while  still  a  boy,  with  his  family  to  Bergen, 
where  he  received  his  first  instruction  in  art.  In 
1827  he  went  to  Copenhagen,  and  there  studied  at 
the  Academy  for  about  three  years,  when  want  of 
means  compelled  him  to  go  to  Christiania  and 
commence  portrait-painting :  thence  he  went  to 
study  in  Bergen,  where  the  mountain-topped  fiords 
and  rocky  bays  afforded  ample  subjects  for  his 
pencil — and  he  also  travelled  northward  to  Dront- 
heim  in  search  of  material  for  his  pictures.  In 
1836  he  was  persuaded  by  his  countryman,  Dahl, 
the  well-known  landscape  painter,  to  go  to  Dres- 
den, in  which  city  he  studied  for  three  years^ 
returning  to  his  native  country  in  1839  on  account 
of  a  disease  in  his  eyes.  In  1846  he  went  to 
Munich,  and  soon  earned  as  a  landscape  painter 
a  reputation,  which  he  increased  year  by  year, 
executing  paintings  of  his  native  country  and  the 
scenes  around  his  native  coasts,  which  he  mostly 
depicted  with  moonlight  effects.  Though  but  an 
invalid,  he  laboured  at  Munich  continually  until 
his  death,  which  occurred  in  that  city  in  1879. 

F  2 


Baade  was  painter  to  the  Court  of  Sweden,  and  a 
member  of  the  Academy  of  Arts  at  Stockholm. 
The  following  are  among  his  best  works: 
Christiania.    Nat.  Gallery.  "Wood  at  North  Kyst. 
London.  South  Kensington  \  r^^^  -Wreck 

Museum^        J 
Munich.  Pinakothek.      Scene  from  Norse  Mythology. 

Stockholm.    Nat.  Gallery.    Ship  by  Moonlight. 

BAADER,  Amalie,  was  bom  at  Erding,  in 
Bavaria,  in  1763.  She  studied  engraving  under  J. 
Dorner,  the  director  of  the  gallery  at  Munich,  and 
practised  it  for  amusement,  not  as  a  profession. 
Her  mark,  an  A  and  B  interlaced,  is  found  on 
copies  after  Rembrandt,  G.  F.  Schmidt  of  Berlin, 
and  some  Italian  masters.  After  her  marriage  she 
was  known  by  her  husband's  name,  Van  Schat- 
tenhofer.     Slie  died  at  Munich  in  1840. 

BAAK  HATTIGH,  Jan,  a  painter  of  Utrecht, 
lived  in  the  middle  of  the  17th  century,  as  we  find 
by  a  picture  in  the  hospital  of  St.  Job  in  that 
city,  with  the  date  1642.  It  is  a  landscape  with 
figures  in  the  manner  of  Poelemburg,  and  ap- 
proaches so  near  to  that  master,  that  it  may  be 
concluded  he  was  one  of  his  scholars. 

BAAN,  J.  DE,  (or  Baen).     See  De  Baan. 

BABEL,  P.  E.,  a  French  designer  and  etcher, 
was  bom  in  Paris  in  the  early  years  of  the  18th 
century  (perhaps  in  1720),  and  flourished  there  as 
late  as  1755.  He  is  said  to  have  died  in  1761. 
He  has  left  numerous  plates  of  ornamental  decora- 
tion— some  after  his  own  designs— chiefly  for  the 
embellishment  of  books.  Heineken  says  that  he 
was  also  a  goldsmith.  Among  his  productions 
are : 

The    plates    for    Bloudel's  '  Architecture    francjaise.' 

1752-56. 
Seventy-two  vignette  illustrations,/ro7re  his  oion  designs^ 

for  *  Traite  de  perspective  a  I'usage  des  artistes,'  by 

B.  S.  Jeaurat.     Paris.     1750. 
Three  plates  of  a  Salon  for  the  Princess  SartorinsH,  of 

Poland;  after  J.  A.  Meissonnier. 
Seven  plates  of  decoration  for  the  H6tel  de  Soubise, 

Paris  ;  after  Boffrand. 

BABUREN,  Theodor  van,  (or  Babeur,)  a  Dutch 
painter,  who  was  bom  in  1570,  was  a  scholar  of 
Pieter  Neefs.  He  painted  interiors  and  churches 
in  the  manner  of  that  master;  but  more  frequently 
made  choice  of  such  subjects  as  admitted  of  mirth 
and  conviviality ;  and  his  pictures  generally  repre- 
sent musical  assemblies,  card-players,  &c.,  painted 
in  a  free,  bold  manner,  in  which  his  drawing  is 
preferable  to  his  colour.  His  chef-d^xuvre  is  an 
'  Entombment,'  in  the  style  of  Caravaggio,  in  San 
Pietro  in  Montorio,  at  Rome.  His  only  etching, 
and  this  is  rare,  is  from  this  picture.  He  died  at 
Utrecht  in  1624. 

BABYLONE.     See  Barbarj. 

BACAREEL.     See  Backereel. 

BACCARINI,  Jacopo,  was  bom  at  Reggio  about 
the  year  1630.  He  was  a  scholar  of  Orazio  Talami, 
and  painted  history  in  the  style  of  that  master. 
Two  of  his  most  esteemed  pictures,  a  '  Repose  in 
Egypt,'  and  the  '  Death  of  St.  Alexis,'  are  in  the 
church  of  San  Filippo  at  Reggio.    He  died  in  1682. 

BACCHIACCA,  II.     See  Ubertini. 

BACCHIOCCO,  Carlo.  According  to  Averoldo 
this  painter  was  a  native  of  Milan.  That  author, 
in  his  '  Scelte  Pitture  di  Brescia,'  mentions  several 
of  the  pictures  of  this  master  in  the  churches  and 
convents  in  that  city,  particularly  in  the  church  of 
SS.  Giacomo  e  Filippo. 

BACCI,  Antonio,  a  native  of  Mantua,  or  of  Padua, 

67 


A  BIOGRAPHICAL  DICTIONARY  OF 


was  bom  about  1600.  He  was  a  still-life  and 
flower  painter,  and  was  living  at  Venice  in  1663. 

BACCIARELLI,  Maecello,  was  bom  at  Rome 
in  1731.  and  studied  under  Benefial.  In  1750  he 
was  called  to  Dresden,  where  he  was  employed  by 
King  Augustus  III. ;  after  whose  death  he  went  to 
Vienna,  and  thence  to  Warsaw,  where  he  was 
much  patronized.  He  painted  a  set  of  the  Polish 
kings,  from  Boleslau6  Chrobry  downwards.  That 
of  Stanislaus  II.  (Stanislas  Augustus  Poniatowski) 
has  been  engraved  by  A.  de  Marcenay  de  Ghuy, 
Kiistner.  and  A.  Fogg.  BacciareUi  also  painted 
scenes  from  the  History  of  Poland.  He  died  at 
Warsaw  in  1818. 

BACCIO  BELLA  Porta  (Fra  Baetolommeo).  See 
Baetclommeo  di  Pagholo. 

BACCIOCCHI,  Fra  Feeraxte.  This  painter 
was  a  monk,  of  the  order  of  the  Philippines.  Some 
of  his  works  are  noticed  in  Barotti's  account  of 
the  paintings  and  sculpture  at  Ferrara.  One  of 
his  best  pictures  was  the  '  Stoning  of  St.  Stephen,' 
in  the  church  of  San  Stefano  in  that  city ;  and 
in  Santa  Maria  del  Suifragio  there  was  a  'Holy 
Family'  bj-  him.  He  flourished  in  the  17th  cen- 
tury. 

BACH,  Eabl  Daniel  Fbiedrich,  who  was  bom 
at  Potsdam,  in  1756,  studied  and  painted  in  Berlin, 
and  in  Italy,  where  he  was  much  influenced  by  the 
works  of  Raphael.  He  subsequently  became  pro- 
fessor in  the  Art  Academy  at  Breslau,  where  he 
died,  in  1826.  He  painted  historical  subjects,  por- 
traits, and  animals,  and  he  also  used  the  etching- 
needle. 

BACHELEY,  Jacques,  a  French  designer  and 
engraver,  was  bom  at  Pont  I'Eveque,  in  Normandy, 
in  1712.  He  studied  under  Philippe  le  Bas.  He 
was  a  member  of  the  Academy  at  Rouen,  where 
he  died  in  1781.  We  have  by  him  several  prints 
of  landscapes  after  the  Dutch  masters ;  amongst 
which  are  the  following : 

View  in  Italy ;  after  Bart.  Breenberg. 

View  on  the  Tiber ;  after  the  same. 

View  of  the  Bridge  of  Voges ;  after  the  same. 

View  of  Rotterdam ;  after  Van  Goijen. 

The  Castle  of  Byswick ;  after  Ruisdael. 

View  near  Utrecht ;  after  the  same. 

A  Storm  on  the  Coast  of  Greenland ;  after  J.  Feters. 

The  Kedoubt  of  Schenck ;  after  B.  Peters. 

The  Mouth  of  the  Meuse ;  after  the  same. 

The  View  of  Havre  de  Grace;  after  his  own  drawing. 

BACHELIER,  Jean  Jacqttes,  was  bom  in  Paris 
in  1724.  He  was  received  into  the  French  Academy 
as  a  flower  painter  in  1751,  and  again  as  an  historical 
painter  in  1763,  in  which  year  he  painted  the  '  Death 
of  Abel.'  His  picture  of 'Cimonin  Prison,  nourished 
by  his  Daughter,'  exhibited  in  1765  as  '  Charite  Ro- 
maine,'  was  allowed  to  replace  the  former  work  in 
the  Louvre.  In  1765  he  founded  a  school  of 
design  for  artisans,  still  in  existence.  He  died  in 
Paris  in  1805.  He  was  for  fourty-four  years 
Director  of  the  Porcelain  Factory  at  Sevres,  and 
was  £iIso  Director  of  the  Academy  of  Painting, 
Sculpture,  and  Naval  Architecture  at  Marseilles. 

BACHICHE,  Le.     See  Gaulli. 

BACHMANN,  Georg,  also  written  Pachmanx,  was 
bora  probably  in  1600,  Ln  Friedberg,  Bohemia.  He 
worked  for  many  years  in  Vienna,  and  the  churches 
of  that  city  contain  examples  of  his  art.  He  died 
there  in  1652.  Besides  pictures  of  sacred  history, 
Bachmann  also  executed  portraits  of  no  mean 
merit. 

BACICCIO.    See  Gaulli. 
68 


BACKER,  Adbiaas,  the  nephew  of  Jacob  A. 
Backer,  was  bom  at  Amsterdam  in  1613.  He 
was  sent  to  Italy  when  he  was  young,  where  he 
studied  several  years,  and  acquired  a  taste  and 
correctness  of  design,  not  very  common  in  the 
artists  of  his  country,  which  is  discernible  in  all 
his  works.  His  most  esteemed  picture  is  in  the 
old  town-hall  at  Amsterdam,  representing  the  ■  Last 
Judgment ;  '  it  is  an  ingenious  composition,  and  is 
painted  in  a  good  style.  A  '  Rape  of  the  Sabines,' 
signed  by  him  and  dated  1671,  is  in  the  Brunswick 
Gallery.  An  allegorical  picture  of  '  Painting, 
Peace,  and  Justice '  is  in  the  Antwerp  Museum. 
He  died  at  Amsterdam  in  1686. 

BACKER,  Bt.  (Baetholom^us,  or  Baeent),  was 
an  engraver,  who  flourished  at  Amsterdam  in  the 
middle  of  the  18th  century.  He  executed  plates 
of  portraits  and  views  in  a  neat,  finished  manner. 

BACKER,  Franz  de.     See  De  Backer. 

BACKER,  Jacob  A.,  or  Bakkeb  (not  to  be  con- 
founded with  Jacob  de  Backer,  of  Antwerp), 
was  bom  at  Harlingen  in  1608  or  1609  ;  he  studied 
under  Lambert  Jacobsz  at  Leeuwarden,  and  then 
with  Rembrandt,  whose  studio  he  entered  between 
1632  and  1634.  His  chief  residence  was  at  Amster- 
dam, where  he  distinguished  himself  as  a  portrait 
painter.  Such  was  the  extraordinary  facility  and 
rapidity  of  this  artist,  that  Houbraken  asserts  that 
he  finished  the  half-length  portrait  of  a  lady, 
dressed  in  a  troublesome  drapery  and  loaded  with 
jewels,  in  one  day.  He  also  acquired  great  reput- 
ation as  a  painter  of  history ;  and  his  picttu-es 
were  extolled  in  the  poetry  of  Vondel,  his  country- 
man. He  died  in  1651,  at  Amsterdam,  in  the 
forty-second  year  of  his  age.  The  following  are 
some  of  his  most  important  works : 

Amsterdam.  Town  hall.    An  Archery-piece ;  signed  J.B. 
1642. 
„  Galltry.         Sis  Kegent?.     1676. 

>,  „  The    Regents    of    the    Work- 

honse. 
Brunswick.    Museum.       Portrait  of  himself. 

ji  „  Sleeping  Nymph. 

Dresden.        Galltry.        Two  Portraits. 

He  also  etched  some  plates  from  his  own  designs. 

BACKER,  Jakob  de.    See  De  Backer. 

BACKER,  Nicolas  de.    See  De  Backer. 

BACKEREEL,  Gilles.  (or  Bakebeel.)  who  was 
bom  at  Antwerp  in  1572,  studied  in  Italy  and  then 
returned  to  his  native  city,  the  churches  of  which 
formerly  possessed  a  number  of  his  works.  In 
the  Brussels  Museum  are  an  'Adoration  of  the 
Shepherds,'  and  the  '  Vision  of  St.  FeUx,'  and  in 
the  Vienna  Gallery  a  '  Hero  mourning  Leander.' 
Backereel's  name  is  also  frequendy  distorted  into 
Baccarelles,  Bakanel,  Baccarelli,  Bacareel,  and* 
Bakkarell.     The  date  of  his  death  is  not  recorded. 

BACKEREEL,  Willem,  brother  of  Gilles,  was 
bom  at  Antwerp  in  1570.  He  went  to  Italy  to 
study,  and  stayed  there  until  his  death,  in  1600. 
He  painted  historical  subjects  and  portraits. 

BACKHDIZEN,  Hendrik  van  de  Sande,  whose 
mother's  name  was  Van  de  Sande,  was  bom 
at  the  Hague  in  1795.  He  studied  under  J. 
Heijmans,  but  derived  most  of  his  art  instruction 
from  nature,  and  soon  became  noted  for  his  land- 
scapes, usually  containing  figures  or  cattie.  In 
1822  he  was  elected  a  member  of  the  Academy  at 
Amsterdam;  and  in  1847  he  was  made  a  Knight 
of  the  Order  of  the  Lion.  He  died  in  his  native 
city  in  1860.     His  works  are  seen  in  the  public 


PAINTERS  AND  ENGRAVERS. 


and  private  collections  of  Holland  and  Belgium. 
Two  winter-landscapes  by  him  are  in  the  Pina- 
kothek  at  Munich. 

BACKHUYSEN,  Ludolf.     See  BAKHniSEN. 

BACLER  d'ALBE,  Louis  Albert  Guillain, 
Baron  de,  a  French  artist,  was  born  in  1761  at  St. 
Pol  (Pas  de  Calais).  He  was  a  brigadier-general, 
and  held  other  military  and  civil  offices  under 
Napoleon.  He  painted,  during  the  invasion  of 
the  French,  in  1797,  several  views  in  Italy :  the 
'  Battle  of  Lodi,'  the  '  Passage  of  the  Po,'  and 
several  other  victories  of  tlie  French  armies.  He 
also  painted  some  interesting  landscapes  and  clas- 
sical sublets,  such  as  the  '  Death  of  Paris,'  and 
'  (Edipus  wandering  in  Greece.'  He  also  etched 
and  lithographed  a  large  number  of  landscapes. 
He  died  at  Sevres  in  1824. 

BACON,  Fkederick,  engraver,  born  in  London 
in  1803,  was  a  student  of  the  Royal  Academy  for 
some  time  under  Fuseli,  and  afterwards  became  a 
pupil  and  assistant  of  the  Findena.  He  engraved, 
on  his  own  account,  illustrations  for  the  Waverley 
Novels,  and  for  Heath's  Annuals,  &c.,  and  was 
much  employed  by  Messrs.  Colnaghi  and  Puckle, 
and  for  the  Art  Union.  In  1869  he  retired  from 
the  active  exercise  of  his  profession,  and  in  1882 
left  England  for  California,  where  he  invested  in  a 
property,  and  where  he  died  in  1887. 

BACON,  Sir  Nathaniel,  who  was  bom  in  1547, 
was  a  half-brother  of  the  great  philosopher,  Lord 
Chancellor  Bacon.  He  practised  art  for  his  amuse- 
ment, after  the  manner  of  the  Flemish  school. 
There  exist  pictures  by  him  at  Gorhambury,  the 
family  scat,  consisting  of  a  whole-length  portrait 
of  himself,  a  half-length  of  his  mother,  and  a 
'  Kitchen-maid  with  Fowls,'  admirably  painted. 
Several  others  are  at  Redgrave  Hall,  Suffolk.  He 
died  in  1615.  His  monument  in  the  chancel  of 
Culford  church  has,  in  addition  to  his  bust,  the 
emblems  of  a  palette  and  pencils. 

BACQUOY.     See  Baquoy. 

BADALOCCHIO,  Sisto  — called  by  Malvasia, 
SiSTO  Rosa — was  bom  at  Parma  in  1581,  and  was 
educated  in  the  school  of  Annibale  Carracci.  He 
went  with  that  great  master  to  Rome,  and  assisted 
him  in  some  of  his  celebrated  works  in  that  city, 
notably  in  the  Farnese  Palace.  He  was  an  ac- 
complished designer,  and  possessed  an  inventive 
genius.  After  the  death  of  his  master,  in  1609, 
Badalocchio  returned  to  Bologna,  where  he  was 
much  employed.  He  also  worked  at  Gualtieri, 
Reggio,  and  Parma.  He  died  at  Bologna  in  1647. 
One  of  his  best  works  is  a  '  St.  Francis,'  in  the 
Parma  Gallery.  In  the  Verospi  Palace  at  Rome  he 
painted  in  fresco,  after  Albani, '  Polyphemus  seated 
on  a  Rock,  with  Galatea  and  her  Nymphs ; '  'Poly- 
phemus hurling  a  Rock  on  Acis  and  Galatea ; ' 
'  Mercury  and  Paris,'  and  the '  Judgment  of  Paris  ; ' 
which  have  been  engraved  by  Giovanni  Girolamo 
Prezza.  Sisto  Badalocchio  etched  several  plates  in 
a  free  and  masterly  style ;  they  are  generally 
more  finished  than  those  by  Guido  Reni,  though 
not  quite  so  'elegantly  or  so  carefully  drawn.  His 
ordinary  mark  was  S-  B.,  f.  We  have  among 
others  the  following  plates  by  him : 

The  Statue  of  the  Laocoon  ;  after  the  antique  marble 
{his  best  work).  The  Apostles  and  St.  Thomas 
Aquinas;  from  the  Cupola  of  the  Cathedral  at 
Parma;  after  Correggio,  Twenty-three  plates  of 
Eaphael's  Bible ;  after  the  frescoes  in  the  Loggie  of 
the  Vatican.  The  Holy  Family,  with  St.  Joseph  and 
St.  John ;  after  Schidone. 


BADAROCCO,GlovANNl  Raffaello,  the  son  and 
scholar  of  Giuseppe  Badarocco,  was  bom  at  Genoa 
in  1648.  After  studying  some  time  under  his 
father  he  went  to  Rome,  and  entered  the  school  of 
Carlo  Maratti.  Aiming  at  a  freer  and  bolder  style, 
he  appears  to  have  preferred  the  works  of  Pietro 
da  Cortonato  those  of  his  master.  He  also  painted 
in  Naples  and  Venice,  whence  he  returned  to 
Genoa.  There  is  great  suavity  and  a  fine  impasto 
in  his  colouring,  which  a  profusion  of  ultramarine 
has  preserved  in  all  its  brilliancy.  He  was  much 
employed  in  easel  historical  pictures.  Two  of  his 
largest  and  best  works  were  in  the  Certosa  at 
Polcevera.     He  died  in  1726. 

BADAROCCO,  Giuseppe,  who  was  bom  at 
Genoa  in  1588,  became  a  scholar  of  Andrea  An- 
saldo,  under  whose  tuition  he  remained  some  years. 
He  was  called,  from  his  difficulty  of  hearing,  '  11 
Sordo.'  After  leaving  the  school  of  Ansaldo  he 
visited  Florence,  where  he  was  so  much  struck 
with  the  beauty  of  the  works  of  Andrea  del  Sarto, 
that  he  applied  himself  with  assiduity  to  the  study 
of  the  pictures  of  that  admirable  artist.  He  proved 
a  very  good  painter  of  history,  and  executed  several 
works  for  the  churches  and  public  edifices  at  Flor- 
ence, where  he  died  of  the  plague  in  1657. 

BADENS,  Feans,  was  bom  at  Antwerp  in  1571. 
He  was  the  son  of  an  obscure  artist,  by  whom  he 
was  instructed  in  the  principles  of  design,  but 
he  afterwards  had  the  advantage  of  visiting  Italy, 
where  he  remained  four  years.  On  his  return  to 
the  Netherlands  he  gave  ample  testimony  of  the 
advantages  he  had  derived  from  his  studies.  Van 
Mander  speaks  of  him  in  very  favourable  terms  as 
a  painter  of  history-and  portraits,  and  says  that  he 
excelled  in  painting  what  are  called  '  Conversation 
Pieces.'  His  style  of  design  partook  of  the  taste 
he  had  acquired  in  Italy,  and,  like  most  of  the 
painters  of  his  country,  he  was  an  excellent  colour- 
ist.  His  works  have  now  entirely  disappeared.  It 
is  supposed  that  he  died  at  Amsterdam,  but  the 
year  is  not  recorded. 

BADENS,  Jan,  was  the  younger  brother  of  Frans 
Badens,  and  was  also  instructed  in  art  by  his  father. 
He  was  born  at  Antwerp  in  1576,  and  following 
the  example  of  Frans,  he  went  to  Italy  at  an  early 
period  of  his  life,  where  he  resided  several  years. 
He  afterwards  visited  Germany,  and  acquired  in 
that  country  both  fame  and  fortune.  Returning  to 
his  native  country,  he  was  robbed  and  pillaged  by 
banditti  of  all  he  possessed.  This  event  occasioned 
his  death  in  1603,  at  the  age  of  27. 

BADESLADE,  Thomas,  a  landscape  artist, 
made  many  drawings  of  the  country-seats  of  the 
English  nobility  and  gentry,  which  were  published 
in  various  county  histories  between  1719  and 
1750. 

BADIALE,  Alessandro,  a  painter  and  engraver, 
was  born  at  Bologna  in  1623.  He  was  a  disciple  of 
Flaminio  Torre,  and  painted  several  pictures  for 
the  churches  and  public  edifices  at  Bologna.  He 
was  accidentally  shot  at  Bologna  in  1668.  He 
etched  several  plates  in  a  slight,  free  style,  from 
the  designs  of  himself  and  others.  He  marked  his 
prints  with  the  annexed  monogram.  We  "TTp 
have  the  following  prints  by  him ;  ./j3 

The  Virgin  Mary  seated,  with  the  Infant  Jesus  on  her 
lap,  between  St.  Phihp  Neri  and  St.  Anthony  of 
Padua ;  after  Flaminio  Torre. 

The  Holy  Family ;  after  the  same. 

Christ  taken  down  from  the  Cross ;  after  the  same. 

Madonna  with  Child,  who  holds  a  cross  and  an  apple — 
half-length — after  Carlo  Cignarti. 

69 


A  BIOGRAPHICAL  DICTIONARY  OF 


BADILE,  Giovanni,  a  painter  of  Verona,  flour- 
ished in  the  first  half  of  the  15th  century.  A 
signed  altar-piece  by  him  of  the  '  Madonna  and 
Saints,'  in  seven  compartments,  is  in  the  Verona 
Gallery.     Records  of  him  exist  from  1418  to  1433. 

BADILE,  Giovanni  Antonio,  the  great-grand- 
son of  Giovanni  Badile,  was  bom  at  Verona  in 
1480.  He  was,  according  to  Lanzi,  the  first  of  the 
Veronese  painters  who  divested  himself  entirely  of 
the  Gothic  manner  that  prevailed  before  him,  and 
was  superior  to  his  contemporaries  in  the  expression 
of  his  heads  and  the  delicacy  of  his  colouring.  He 
was  the  first  teacher  of  his  nephew,  Paolo  Vero- 
nese. His  pictures  of  the  '  Raising  of  Lazarus,'  in 
the  Verona  Gallery,  and  '  The  Virgin  and  Infant 
in  the  Clouds,  with  several  Saints,'  so  highly 
praised  by  Ridolfi,  are  worthy  of  the  in-  , 
structor  of  Paolo  Veronese  and  Zelotti.  //uZ\ 
Badile  died  in  1560.  ^ 

BADOUX,  Robert  de,  a  native  of  Brussels,  was 
a  marine  painter  and  engraver  who  flourished  in 
the  first  half  of  the  17th  century.  He  engraved 
some  plates  for  the  'Academie  de  I'Epee,'  pub- 
lished in  1628. 

BAECK,  Elias,  of  Augsburg,  called  'Helden- 
muth,'  who  was  born  in  1679,  was  a  painter  and 
engraver.  He  worked  for  some  time  in  Rome, 
then  in  Laybach,  but  finally  returned  to  Augsburg, 
where  he  died  in  1747.  His  chief  works — botli 
in  painting  and  engraving  —  were  portraits  and 
landscapes.  His  engravings  are  sometimes  marked 
.B.  £.  a.  H.  (Elias  Baeck,  alias  Heldenmuth).  See 
Meyer's  '  Kunstler-Lexikon.' 

BAECK,  JoHANN  Geobg,  an  engraver  of  Augs- 
burg, worked  from  about  170O  to  1729.  He 
engraved  portraits,  of  which  a  great  part  are  men- 
tioned by  Heineken.  Amongst  these  are  '  George 
I.'  of  England  and  '  Louis  XIV.'  of  France.  His 
mark  is  J.  B.  or  B.  fe. 

BAEHR,  JoHANN  Karl,  who  was  bom  at  Riga 
in  1801,  studied  under  Matthaei  in  Dresden,  and 
completed  his  art  education  by  a  sojourn  in  Italy. 
He  finally  settled  at  Dresden,  and  in  1840  was 
made  a  Professor  at  the  Academy  of  Fine  Art.  He 
died  there  in  1869.  Baehr  produced,  besides  many 
portraits,  numerous  historical  works  of  merit.  He 
was  also  the  author  of  several  literary  productions. 
The  following  are  some  of  his  best  paintings : 

Virgil  and  Dante. 

The  Anabaptists  in  Monster  {lithographed  hy  Hanfstdngl, 

and  hy  Teichgrdher), 
Iwan  the  Cruel,  of  Bussia,  warned  of  his  death  by  a 

Finnish   Magician   {signed   and  dated  1850) ;    in   the 

Dresden  Gallery, 
Christ  and  St.  Thomas  {at  Kiev). 
Christ  on  the  Cross  {at  Zschopau). 
Portrait  of  Julius  Mosen  {lithographed  by  Han/siangl). 

BAEN,  J.  DE,  (or  Baan).     See  De  Baan. 

BAENER,  JoHANN  Alexander,  a  German  en- 
graver, flourished  about  the  year  1670.  Among 
other  plates  he  engraved  an  emblematical  subject, 
representing  a  man  kneeling  at  the  feet  of  another 
man,  with  a  book  before  him  ;  and  a  hand,  holding 
a  sword,  is  striking  from  the  clouds  at  the  latter. 
It  is  executed  with  the  graver  in  a  coarse,  heavy 
style. 

BAERSTRAET.    See  Beebstbaaten. 

BAESTEN,  Maria,  whose  maiden  name  was 
Ommeganck,  painted  landscapes  and  cattle.  She 
was  a  member  of  the  Academy  at  Antwerp  in  1784. 

BAGELAAR,  Ernst  Willem  Jan,  who  was  bom 
at  Eindhoven,  in  Holland,  in  1775,  first  entered  the 

70 


army,  but  early  acquired  a  liking  for  the  fine  arts, 
and  instructed  himself  in  that  of  etching.  He 
acquired  further  knowledge  by  travelling  through 
Germany,  and  by  a  stay  in  Paris.  Giving  up 
soldiering,  he  retired  to  his  property  at  Zon,  near 
Eindhoven,  where  he  died  in  1837.  His  etchings, 
which  are  numerous,  are  executed  in  imitation  of 
drawings.  Many  of  them  are  landscapes  from  his 
own  designs.  The  style  of  Jan  Luyken  had  a 
special  charm  for  him,  and  Jje  possessed  a  con- 
siderable collection  of  his  drawings.  The  follow- 
ing will  show  the  variety  of  his  subjects : 

Ruth  and  Boaz  ;  after  Luyken. 

Daniel  in  prayer ;  after  the  same. 

The  sleeping  Jew  ;  after  Rembrandt. 

Portrait  of  J.  W.  Pieneman ;  after  J.  W.  Pieneman. 

Portrait  of  the  poet  Janus  Secimdus;  after  J.  van 

Schoreel. 
View  of  Arnheim ;  after  Schelfhout. 
Sea-piece  ;  after  Van  Goijen. 
Storm  at  Sea ;  after  L.  £aiJtuisen. 
A  set  of  six  plates  of  Cows  ;  after  A.  Cuyp  {one  of  his 

best  works). 
Two  Cows;  after  A.  van  de  Velde. 
A  Sheep ;  after  Berchem. 
A  Sheep;  after  Dujardin 

EAGER,  JoHANN  Daniel,  who  was  bom  at  Wies- 
baden in  1734,  was  a  fruit  and  flower  painter.  He 
worked  some  time  at  Frankfort,  where  he  died  in 
1815.  Two  works  by  him  are  in  the  Stadel  Gallery 
in  that  city. 

BAGLIONI,  Cesabe.  This  artist  was  born  at 
Bologna,  about  the  middle  of  the  16th  century  ;  he 
was  the  son  of  an  obscure  painter,  Giovanni  Pietro 
Baglioni,  from  whom  he  received  some  instruc- 
tion ;  but  he  had  the  advantage  of  being  a  con- 
temporary of  the  Carracci,  and  without  being  a 
disciple  of  that  school,  he  adopted  their  style, 
particularly  in  landscapes,  in  which  he  excelled. 
He  was  a  universal  artist,  and  painted  history, 
animals,  and  fruit ;  in  all  of  which,  according  to 
Malvasia,  he  possessed  considerable  merit.  The 
principal  works  of  this  master  were  at  Bologna 
and  Parma,  where  they  were  highly  esteemed.  In 
the  church  of  the  Madonna  del  Soccorso,  at  Bologna, 
he  painted  a  picture  of  the  'Ascension,'  and  in  San 
Giorgio  an  altar-piece,  representing  '  St  Anthony  • 
and  St.  Martha.'  Baglioni  was  employed  in  1610  I 
by  the  Duke  Ranuccio  Famese  at  Parma  to  paint  ■ 
the  church  or  oratory  of  Stirone,  dedicated  to  the 
Blessed  Virgin,  which  was  destroyed  in  1812. 

BAGLIONI,  Cavaliere  Giovanni,  called  'II 
Sordo  del  Barozzo,'  was  bom  at  Rome  in  1571, 
and  was  a  scholar  of  Francesco  Morelli.  He 
was  employed  in  many  considerable  works  at 
Rome  during  the  pontificates  of  Clement  VIII. 
and  Paul  V.  In  the  church  of  Santa  Maria  dell' 
Orto,  he  painted  a  chapel  in  fresco,  where  he  repre- 
sented the  '  Life  of  the  Virgin ; '  and  in  San  Niccol6 
in  Carcere  there  is  a  fine  picture  of  the  'Last 
Supper.'  But  his  most  esteemed  performance, 
which  now  no  longer  exists,  was  his  picture  in  St. 
Peter's,  of  that  Saint  raising  Tabitha  from  the 
dead,  for  which  he  was  made  a  Knight  of  the 
Order  of  Christ  by  Pope  Paul  V.  He  also  painted 
a  '  St.  Stephen,'  in  the  cathedral  of  Perugia,  and  a 
'  St.  Catharine,'  for  the  cathedral  of  Loretto.  He 
died  at  Rome  in  1644.  He  was  the  author  of  the 
'  Lives  of  the  Painters,  Sculptors,  and  Architects.' 
who  flourished  at  Rome,  from  the  Pontificate  of 
Gregory  XIII.  until  that  of  Urban  VIII.,  from 
1573  to  1642. 

BAGNACAVALLO.    See  Ramknghi. 


PAINTERS  AND  ENGRAVERS. 


BAILEY,  John,  designed  and  engraved  the 
illustrations  to  Hutchinson's '  Histories  of  Northum- 
berland and  of  Durham,'  published  between  1778 
and  1784.  He  was  afterwards  the  author  of  various 
works  on  agriculture. 

BAILLEUL,  F.  This  artist  was  a  native  of 
France,  and  resided  in  Paris  about  the  year  1722, 
where  he  engraved  some  of  the  plates  which  were 
published  at  that  time,  representing  the  ceremonies 
of  the  coronation  of  Louis  XV. 

BAILLIE,  Alexander,  an  engraver,  who  flour- 
ished about  the  year  1764,  was  born  in  Scotland. 
After  practising  his  art  in  Rome,  he  returned  to 
Edinburgh,  where  he  engraved  a  few  portraits,  and 
where,  it  is  believed,  he  died.  He  engraved  a 
plate  representing  a  half-length  figure  of  'St. 
Cecilia,'  and  a  'Holy  Family,' both  after  Francesco 
Fernandi,  and  both  signed  with  his  name,  and  the 
above  date. 

BAILLIE,  Captain  William.  This  well-known 
amateur  acquired  a  distinguished  reputation  as  an 
engraver.  He  was  born  at  Killbride,  County  Car- 
low,  in  1723,  and  passed  the  early  part  of  his  life 
in  the  army,  from  which  he  retired  with  the  rank 
of  captain  of  cavalry.  On  leaving  the  service 
Captain  Baillie  devoted  his  life  entirely  to  the 
arts,  and  was  for  many  years  considered  one  of 
the  most  enlightened  connoisseurs  of  his  time. 
By  this  gentleman  we  have  several  plates  en- 
graved in  various  manners  ;  but  his  most  admired 
productions  are  those  he  executed  in  the  style  of 
Rembrandt,  and  his  charming  copies  after  the 
etchings  of  that  master.  He  died  in  1810.  The 
works  of  Captain  Baillie  were  published  in  two 
folio  volumes  by  Boydell,  in  1792,  entitled,  'A 
Series  of  225  Prints  and  Etchings  after  Rembrandt, 
Teniers,  G.  Dou,  Poussin,  and  others.' 
The  following  are  the  principal,  some  of 
which  are  signed  with  his  name,  and 
some  marked  with  the  cipher  annexed  : 

Bust  of  an  Old  Man,  with  a  gold  chain,  in  the  manner 

of  Eemhrandt ;  two  plates,  one  without  the  chain. 
Landscape,  with  a  Stone  Bridge,  engraved  1764 ;  scarce. 
Landscape,  with  the  Kuins  of  a  Temple,  in  the  manner 

of  Claude. 
Portrait  of  Sofonisba  Anguisciola,  painter    ipsa  pinxit. 
Landscape  by  Moonlight;  after  A.  Cuyp 
The  Pen-cutter ;  after  Gerard  I)ou, 
The  Lacemaker ;  after  the  same. 
The  Mother  of  Gerard  Dou ;  after  the  same. 
Susannah  justified  by  Daniel ;  after  0.  ran  den  Hclehont. 
Four  Officers,  two  playing  at  Trictrac ;   after  Marc 

Geerarts;  scarce. 
Portrait  of  Frans  Hals,  painter ;  F.  Sals,  pinxit. 
Portrait  of  Frans  van  Mieris  ;  after  himself. 
Peasants  saying  Grace ;  after  Moleiiaer. 
A  Musical  Assembly ;  after  the  same. 
James,  Duke  of  Monmouth,  on  Horseback;  after  Net- 

seher. 
Literior  of  a  Dutch  Chamber,  with  Feasants  regaling ; 

after  A.  Ostade.    1767. 
Interior,  with  Peasants  smoking  and  drinking;   after 

the  same.    1765. 
Christ  healing  the  Sick,  commonly  called  the  Hundred 

Guilder  Print.    The  original  plate  by  Eemhrandt,  pur- 
chased by  Captain  Baillie  in  Holland,  and  admirably 

retouched  by  him. 
Beggars  at  the  Door  of  a  House ;  after  Rembrandt's 

etching. 
The  Gold-weigher;    finely  copied   from  Eembrandt's 

etching. 
The  Three  Trees ;  Landscape ;  after  the  same. 
An  Old  Man,  half-length,  with  a  Beard  and  Cap;   W. 

Maillie,  1765 ;  after  Jiembratidt. 
The  Entombment  of  Christ ;  two  plates  varied. 
An  Old  Man,  half-length,  with  a  large  Beard,  and  his 

Hands  in  the  Sleeve  of  his  Robe.    1771 


Landscape,  with  a  Horse  lying;  after  Eembrandt's  print. 

The  Holy  Family;  after  Schidone. 

Interior  of  a  village  Alehouse;  after  Teniers ;  fine. 

A  Student   sitting  before  a  Table  with  a  Globe  and 

Books;  after  Terborch. 
■William,  Prince  of  Orange,  on  Horseback;  after  thi 

same. 
Soldiers  quarreUing  at  Dice ;  after  Valentin. 
Three  Sea-pieces;  after  draioixgs  by  W.  van  de  Veldt, 

BAILLID,  B.  and  P.  db.     See  De  Bailliu. 

BAILLU,  Ernest  Joseph,  (or  Bailly,)  who 
was  born  at  Lille  in  1753,  studied  first  in  tha 
Academy  of  Ghent,  then  at  Antwerp,  and  sub- 
sequently at  Paris.  In  1777  he  returned  to  Ghent, 
and  was  soon  afterwards  commissioned  by  the 
magistracy  to  paint  four  portraits  of  the  Emperor 
Leopold  II.  He  also  painted  a  portrait  of  Maria 
Christina  of  Austria.  In  1792  he  gained  a  prize, 
at  the  Academy  of  Ghent,  for  his  '  (Edipus  Colo- 
neus,'  and  in  1811  he  received  a  gold  medal  for 
an  '  Allegory  on  the  Birth  of  the  King  of  Rome  ;  ' 
both  of  these  works  he  presented  to  the  Society 
of  Art  and  Literature  of  Ghent.  He  died  in  that 
city  in  1823.  Baillu  devoted  himself  much  to 
decorative  paintings  on  walls,  wainscots,  and  fur- 
niture, in  which  branch  of  art  he  became  very 
famous. 

BAILLY,  David,  a  Dutch  painter,  was  born  at 
Leyden  in  1584.  After  studying  under  Kornelis  van 
der  Voort,  he  went  in  1608  to  Italy.  He  returned 
to  the  Netherlands  in  1613,  having  spent  some 
time  in  Germany,  both  going  and  coming.  He 
painted  especially  portraits,  and  sometimes  per- 
spective views  of  the  interiors  of  churches  and 
temples.  His  portraits  were  esteemed  for  their 
correct  likeness,  and  they  were  extremely  well 
coloured.  His  chilrch  pieces  are  much  admired, 
though  inferior  to  those  of  Steenwijek,  or  Pieter 
Neefs.  He  was  still  living  in  1661.  His  works  are 
rarely  seen  in  public  galleries.  A  portrait  of  Maria 
van  Reigersbergen,  wife  of  the  celebrated  jurist 
Hugo  de  Groot,^signed  and  dated  1624, — is  in  the 
Museum  at  Amsterdam,  and  a  Male  Portrait  in  the 
Gottingen  Gallery.     He  was  also  an  engraver. 

BAILLY,  Jacques,  a  miniature  painter  and  en- 
graver, was  born  at  Gragay  (Cher)  in  1629.  He 
etched  twelve  spirited  plates,  representing  bouquets 
of  flowers.  His  works  are  very  rare.  He  died  in 
Paris  in  1679. 

BAILLY,  Nicolas,  son  of  Jacques,  was  born 
in  Paris  in  1659,  and  died  there  in  1736.  He 
painted  landscapes,  and  etched  in  a  neat  manner 
17  views  of  the  environs  of  Paris. 

BAILY,  J.,  an  English  engraver,  practised  about 
the  year  1790.  He  engraved  some  plates  after 
Morland,  as  well  as  landscapes  and  views  in  aqua- 
tint, in  a   clever  manner. 

BAJARDO,  Giovanni  Battista.  This  painter 
was  born  at  Genoa  about  the  year  1620.  It  is  un- 
certain under  whom  he  studied,  but  he  was  a 
reputable  painter  of  history,  and  executed  several 
works  for  the  churches  and  public  edifices  at 
Genoa,  which  are  deservedly  esteemed,  particularly 
those  in  the  portico  of  San  Pietro  di  Banchi,  and 
the  monastery  of  Sant'  Agostino.  His  compositions 
are  judicious,  his  design  graceful,  and  he  possessed 
great  facility  of  execution.  According  to  Soprani, 
he  fell  a  victim  to  the  plague,  which  visited  Genoa 
in  1657,  when  he  was  in  the  prime  of  life. 

BAKANEL.     See  Backereel. 

BAKER,  J.,  practised  as  a  portrait  painter  at 
the  begiiming  of  the  18th  century.  He  was  one 
of  Sir  Godfrey  Kneller's   assistants,  and  is  best 

71 


A  BIOGRAPHICAL  DICTIONARY  OF 


known  by  his  portrait  of  Sir  Stephen  Fox,  engraved 
by  Jean  Simon. 

BAKER,  John,  an  English  painter  of  flowers 
and  fruit,  bom  about  the  year  1736,  was,  in  early 
li£e,  a  painter  of  heraldic  ornaments  for  coaches. 
Afterwards  he  distinguished  himself  by  the 
brilliancy  of  his  groups  of  flowers  which  he  con- 
tributed to  the  Spring  Gardens  Exhibition.  He 
was  one  of  the  original  members  of  the  Royal 
Academy  of  Arts,  where  there  is  a  very  creditable 
specimen  of  his  talents.     He  died  in  1771. 

BAKER,  Joseph,  in  early  life  an  actor,  is  men- 
tioned by  Walpole  as  a  painter  of  the  interiors  of 
churches,  both  in  England  and  Rome.  A  view  of 
the  interior  of  St.  Paul's,  by  him,  was  sold  at  the 
sale  of  Sir  Mark  Sykes's  pictures.  He  also  drew 
York  and  Lincoln  Cathedrals,  which  were  engraved 
by  Vivares.     He  died  in  1770. 

BAKER,  Thomas,  who  was  born  in  1809,  and  died 
in  1869,  practised  the  art  of  landscape  painting  in 
water-colour  in  the  midland  counties  with  success. 
He  was  known  as  '  Baker  of  Leamington.' 

BAKEREEL.     See  Backebeel. 

BAKHDISEN,  Ltjdolf,  (or  Backhutsen,)  a 
celebrated  painter  of  sea-pieces  and  storms,  was 
born  at  Emden  in  1631.  He  was  of  a  respectable 
family,  and  was  intended  by  his  parents  for  a 
mercantile  profession,  for  which  purpose  he  was 
sent  to  Amsterdam.  His  time  was,  however, 
more  occupied  in  the  society  of  the  painters 
than  in  the  counting-house,  and  he  at  length 
became  a  pupil  of  Aldert  van  Everdingen,  under 
whom  he  remained  some  time.  He  also  studied,  it 
is  said,  under  Hendrik  Dubbels.  His  fondness  for 
shipping  led  him  frequently  to  the  port  of  Am- 
sterdam, where  he  made  drawings  of  the  different 
vessels.  These  designs  were  admirably  executed 
with  a  pen,  and  were  eagerly  sought  after  by 
collectors,  who  purchased  them  at  liberal  prices. 
This  encouragement  induced  him  to  attempt  the 
representation  of  simOar  objects  in  painting.  His 
first  essays  were  successful,  and  his  pictures  were 
universally  admired.  He  frequently  exposed  him- 
self to  the  greatest  danger,  by  hiring  fishermen  to 
take  him  out  to  sea  in  the  most  tempestuous 
weather,  to  observe  the  forms  of  the  waves  mount- 
ing to  the  clouds  and  dashing  against  the  rocks  ; 
and  he  has  represented  these  scenes  with  a  fidelity 
that  intimidates  the  beholder.  His  pictures  of 
these  subjects,  though  rather  dark  in  colouring, 
have  raised  his  reputation  even  higher  than  that  of 
W.  van  de  Velde,  although  the  works  of  the  latter, 
which  represent  the  sea  when  calm,  or  in  light 
breezes,  are  much  superior.  In  the  latter  part  of 
his  life  Bakhuisen  amused  himself  with  etching 
some  plates  of  views  of  shipping  on  the  Y,  a  small 
arm  of  the  sea  upon  which  Amsterdam  is  situated. 
He  died  at  Amsterdam  in  1708.  Bakhuisen  is  said 
to  have  given  instruction  in  drawing  to  Peter  the 
Great,  when  that  monarch  was  studying  at  Saar- 
dam.  He  also  practised  the  art  of  engraving,  and 
has  left  several  plates  of  marine  views,  and  his 
own  portrait.     His  most  celebrated  works  are  : 

Amsterdam.  Museum.  Embarkation  of  Jan  de  'Witt  on  the 
Dutch  fleet. 
n  >,         Port  of  Amsterdam  (signed  and  dated 

1673). 
n  „         The  Zuider  Zee  {signed  and   dated 

1694),  and  others. 
Berlin.         Museum.  Stormy  Sea  on  a  Rocky  Coast. 

•I  »         Slightly  Troubled  Sea  (signed  and 

dated  1664). 
Brussels.    Museum.  The  Tempest. 
72 


Copenhagen.  Gallery. 
Dulwich.      Gallery. 

Florence.    Pitti  Pal. 
Frankfort.   Stadel. 

Hague.         Gallery, 


London.    Xat.  Gall. 

Pari?;.  Louvre. 

"Pet^Tshrg.Hermitaye. 
Vienna.         Gallery. 


Sea-pieces  and  others. 

Boats  in  a  storm  (signed  and  dated 

1696). 
A  Rough  Sea  {dated  1669). 
View   on  the  Y  (signed  and  dated 

1700). 
Disembarkation  of  'William  in.  of 

England  in  I'Oranje-Polder  (signed 

and  dated  1692). 
Entrance  of   a  Dutch  port  {signed 

and  dated  1693). 
View  of  the  Building  Yard  of  the 

East  India  Company  at  Amsterdam 

{signed  and  dated  1696). 
Dutch   Shipping  {signed   and  dated 

16S3). 
Six  other  Sea-pieces. 
Dutch  Squadron  {dated  1675), 
Four  other  Sea-pieces. 
A  Shipwreck. 
Portrait  of  an  old  man. 
Port  of  Amsterdam.     1674. 
Tiro  others. 


BAKHUISEN,  Ludolf,  nephew  of  the  great 
marine  painter,  was  born  at  Amsterdam  in  1717, 
and  died  at  Rotterdam  in  1782.  He  was  a  good 
painter  of  horses  and  battles.  His  brother  Gebrit 
Bakhuisen  practised  portrait-painting  as  an  ama- 
teur. He  lived  at  Rotterdam,  where  he  had  a  tile- 
kiln,  to  which  after  his  death  his  brother  Ludolf 
succeeded. 

BAKKARELL.     See  Backebeel. 

BAKKER.    See  Backer. 

BAL,  CoBNELis  Joseph,  who  was  bom  in  Ant- 
werp in  1820,  first  studied  in  the  Academy  there, 
and  then  went  to  Paris  and  formed  his  style  under 
Achille  Martinet.  In  1848  he  won  the  '  Prix  de 
Rome,'  and  improved  his  knowledge  of  art  by 
travelling  in  Italy  and  elsewhere.  On  his  retum 
to  Paris  he  made  himself  famous  by  his  engrav- 
ing of  Gallait's  '  Temptation  of  St.  Anthony.'  On 
the  death  of  Corr,  in  1862,  he  was  summoned  to 
Antwerp  to  fill  the  vacant  post  of  professor  to  the 
Academy.  He  died  in  his  native  city  in  1867. 
Bal  received  several  medals  and  the  order  of 
Leopold.  The  following  are  his  principal  engrav- 
ings : 

La  Belle  Jardiniere  ;  after  Raphael      1856. 
The  Montenegrin  Woman  and  her  Child ;  after  Czermak. 
The  Temptation  of  St.  Anthony ;  after  Gallait. 
Jeanne  la  foUe  ;  after  the  same. 

The  Abdication  of  Charles  V. ;   after  the  same  (left 
unfinished  at  Bal's  death). 

BALASSI,  Makio,  was  bom  at  Florence  in  1604. 
He  was  first  a  scholar  of  Jacopo  Ligozzi,  and 
after  the  death  of  that  master  he  studied  success- 
ively under  Rosselli  and  Domenico  Passignano, 
the  latter  of  whom  he  assisted  in  the  works  he 
executed  at  Rome  by  order  of  Pope  Urban  'VIII. 
He  copied  the  "  Transfiguration '  of  Raphael,  for 
Prince  Taddeo  Barberini,  who  placed  it  in  the 
Capuchin  church  at  Rome,  where  it  is  still  to  be 
seen.  He  afterwards  accompanied  Prince  Ottavio 
Piccolomini  to  Vienna,  where  he  painted  the  por- 
trait of  the  Emperor  Ferdinand  III.  On  his  return 
to  Italy  he  worked  in  Prato,  Florence,  and  EmpoU. 
For  the  church  of  Sant'  Agostino,  in  Prato,  he 
painted  a  picture  of  '  St.  Nicholas  of  Tolentino,' 
one  of  his  best  works,  and  for  the  Society  of  the 
Stigmata  in  Florence,  one  of  'St.  Francis.'  In  the 
Vienna  Gallery  there  is  a  '  Madonna  and  Child  '  by 
him,  painted  on  stone.     He  died  in  1667. 

BALDACCI,  Mabia  Maddalena,  a  Florentine 
painter,  was  bom  at  Florence  in  1718,  and  died 
there  in  1782.    She  executed  miniatures  and  crayon 


PAINTERS  AND  ENGRAVERS. 


drawings,  and  among  them  the  portrait  of  the 
Empress  Maria  Theresa.  She  is  represented  in 
the  Dffizi  Gallery  by  her  own  portrait. 

BALDASSARE,  who  worked  at  Forli  about  the 
year  1354,  is  supposed  to  be  the  author  of  a  frag- 
ment of  a  series  of  paintings  which  once  adorned 
the  church  Di  Schiavonia.  That  which  remains  is 
now  in  the  gymnasium  at  Forli,  and  represents 
the  Adoration  of  the  Magi  and  figures  of  SS.  Peter, 
Jerome,  Paul,  Augustin,  three  figures,  and  two 
horses,  "creations  that  do  more  honour  to  the 
school  of  Giotto  in  these  parts  than  any  assigned  to 
the  artists  named  by  Vasari "  (Crowe  and  Caval- 
caselle,  '  A  New  History  of  Painting  in  Italy,'  3 
vols.     1864). 

BALDI,  Antonio,  a  designer  and  engraver,  born 
at  La  Cava,  in  the  kingdom  of  Naples,  about  1692. 
After  having  passed  some  time  under  Solimena  he 
became  a  pupil  of  Magliar,  to  learn  the  art  of  en- 
graving. He  chiefly  resided  at  Naples,  and  was 
living,  Zani  says,  as  late  as  1768.  He  engraved 
several  plates,  principally  from  his  own  designs, 
amongst  which  are  : 

The  Emperor  Charles  VI. ;  oval. 

Don  Carlos,  King  of  the  Two  Sicilies  ;  oval. 

Nicholas  Cyrillus,  physician ;  after  S.  Cyrillus. 

Maria  Aurelia  Caraccioli,  a  Nun ;  oval. 

St.  Ignatius  Loyola;  oval;  Ant.Baldi  ex  Prototypo. 

The  Monk  Eaffaele  Manca,  with  an  Angel ;  oval. 

The  Communion  of  St.  Mary  of  Egypt;  A,  Baldi,  in. 

et  sc. 
St.  Philip  Neri  in  Heaven ;  inscribed  Cui  nomen  dedit,  ^e. 
St.   Emilius  interceding  for   the    Neapolitans;    I)ivo 

Emigdo  in  t^rrte^  S;c. 
St.  Gregory,  with  the  subjects  of  his  Miracles,  1738 ; 

Ant.  Baldi,  fee. 

BALDI,  Lazzako,  was  bom  at  Pistoja  in  1624. 
He  went  to  Rome  when  he  was  very  young,  and 
became  a  scholar  of  Pietro  da  Cortona.  Under  so 
able  an  instructor  he  became  a  very  eminent  artist, 
and  painted  several  pictures  for  the  churches  and 
public  edifices  at  Rome,  which  are  particularly 
described  by  the  Abate  Titi.  In  the  pontifical 
palace  at  Monte  Cavallo  there  is  a  fine  picture  by 
this  master,  representing  '  David  and  Goliath,'  and 
in  the  church  of  St.  Luke  an  altar-piece  of  the 
'  Martyrdom  of  St.  Lazarus.'  He  also  worked  in 
Camerino,  Pistoja,  and  Perugia.  He  died  at  Rome 
in  1703.  In  the  Vienna  Gallery  there  is  a  picture 
by  him  of  '  St.  Martin,  Bishop  of  Tours,  raising 
a  dead  child,'  which  has  been  engraved  by  J. 
Axmann.  As  an  engraver,  Baldi  is  known  by 
one  single  work,  'The  Conversion  of  St.  Paul,' 
marked  Lazzerus.  Baldus.  Pistoriensis.  invenit.  et. 
excudit. 

BALDINI,  Baccio,  a  Florentine  goldsmith  and 
engraver,  is  a  master  of  whom  little  is  known. 
Vasari  tells  us  that  he  engraved  after  the  designs 
of  Botticelli,  and  that  he  was  a  disciple  of  Maso 
Finiguerra,  who  is  said  to  have  been  the  inventor  of 
engraving  in  Italy.  Nothing  has  been  ascertained 
for  certain  about  Baldini's  life,  but  it  is  supposed 
that  he  flourished  from  about  1460  to  1485. 
Almost  all  the  writers  on  the  subject  agree  that  he 
worked  in  conjunction  with  Botticelli,  but  as  their 
works  are  executed  in  the  same  manner,  and  bear 
neither  name  nor  monogram,  it  is  almost  impossible 
to  identify  them.  The  following  are  some  which 
are  most  frequently  attributed  to  Baldini : 

Plates  for  the  '  Monte  Santo  di  Dio.'    1477. 

Nineteen  Plates  of  Dante's  Inferno,  printed  at  Florence 

by  Niccolo  Lorenzo  della  Magna,  in  1481. 
Twenty-four  of  the  Prophets. 
Twelve  of  the  Sibyls. 


Theseus  and  Ariadne. 

Designs  for  jeweller's  ornaments. 

For  an  exhaustive  list  of  works  attributed  to 
Baldini,  and  for  a  further  account  of  the  artist, 
see  Meyer's  '  Kiinstler-Lexikon.' 

BALDINI,  PiETRO  Paolo.  According  to  Titi, 
this  artist  was  a  native  of  Rome,  and  was  a  dis- 
ciple of  Pietro  da  Cortona.  He  flourished  in  the 
middle  of  the  17th  century.  He  painted  historical 
subjects,  and  several  of  his  works  in  the  public 
edifices  at  Rome  were  deservedly  admired ;  among 
others,  some  pictures  in  the  churches  of  San  Nic- 
colo da  Tolentino,  and  Santa  Maria  di  Loretto;  but 
above  all  an  altar-piece  representing  the  '  Cruci- 
fixion,' in  the  church  of  Sant'  Eustachio,  finely 
composed,  and  designed  with  great  care  and  cor- 
rectness. 

BALDINI,  Fra  Tiburzio.  This  painter  was  a 
native  of  Bologna,  and  flourished  in  the  early  part 
of  the  17th  century.  It  is  not  said  under  whom  he 
studied ;  but,  according  to  Averoldo,  he  painted 
several  pictures  for  the  churches  and  convents  at 
Brescia,  of  which  the  most  esteemed  were  the 
'  Marriage  of  the  Virgin  with  St.  Joseph,'  and  the 
'  Murder  of  the  Innocents  '  in  Santa  Maria  delle 
Grazie.  His  taste  reminds  us  of  the  excellent 
school  that  flourished  in  1500 — magnificence  in  the 
architecture,  great  copiousness  of  composition,  and 
clearness  of  effect ;  but  in  the  general  tone  of  his 
tints,  and  of  his  flesh,  somewhat  of  a  coldness. 

BALDINI,  VlTTOElo,  an  Italian  printer  and 
engraver  on  wood,  who,  according  to  Papillon, 
flourished  about  the  year  1600.  He  died  at 
Ferrara  in  1618.  Among  other  prints  he  executed 
the  woodcuts  for  an  edition  of  Tasso's  '  Aminta,' 
printed  by  him  at  Ferrara  in  1599.  He  worked  for 
the  Duke  of  Ferrara,  and  for  Clement  VIII. 

BALDOVINETTI,  Alesso,  was  born  in  1427  at 
Florence.  It  is  not  known  who  was  his  master ; 
Baldinucci  supposes  that  it  was  Uccelli.  About 
his  youth  Vasari  tells  us  only  that  Alesso,  being 
desirous  to  study  painting,  left  the  business  of 
his  father,  who  was  a  rich  merchant.  In  1448 
he  was  registered  as  a  member  of  the  Guild  of 
St.  Luke:  "Alesso  di  Baldovinetti,  dipintore." 
There  exists  a  curious  note-book  by  the  artist 
(Ricordi  di  A.  Baldovinetti,  published  by  G. 
Picrotti,  Lucca,  1868),  wherein  some  of  his  lost 
pictures  are  mentioned.  Albertini  states  ('  Me- 
moriale,'  1510)  that  Baldovinetti  assisted  Andrea 
del  Castagno  and  Domenico  Veneziano  in  the 
fresco  paintings  of  Santa  Maria  Nuova,  executed 
between  the  years  1439  and  1453,  but  these  have 
been  destroyed.  The  following  are  the  only  pic- 
tures by  the  master  which  are  still  preserved :  In  the 
cloisters  of  Santa  Annunziata  he  painted  between 
the  years  1460  and  1462  a  large  fresco  representing 
'  The  Nativity,  with  the  Adoration  of  the  Shep- 
herds.' In  1465  he  furnished  the  design  for  the 
portrait  of  Dante,  painted  by  Domenico  del 
Michelino  in  the  duomo  of  Florence.  In  1470  he 
executed  the  large  panel  picture  representing  the 
'  Holy  Trinity  adored  by  the  Saints  Gualberto  and 
Benedict,'  for  the  altar  of  the  church  Santa  Trinita, 
now  in  the  Academy  at  Florence.  His  wall  paint- 
ings, in  the  choir  of  the  same  church,  representing 
scenes  from  the  Old  Testament,  with  many  portraits 
of  distinguished  contemporaries,  were  completed  in 
1496,  and  valued  in  the  following  year  by  the  four 
great  artists — Gozzoli,  Perugino,  Filippino  Lippi, 
and  Rosselli— at  1000  golden  florins.  These  were, 
however,  destroyed  in  1760. 

73 


A  BIOGRAPHICAL  DICTIONARY  OF 


Baldovinetti  is  certainly  one  of  the  most  promi- 
nent masters  of  the  early  Florentine  Renaissance. 
His  chief  merits  lie  in  the  utmost  care  with  which 
he  studied  and  represented  natural  objects.  The 
extensive  views  of  his  landscape  backgrounds  are 
especially  remarkable.  But  the  types  of  his  figures, 
which  are  taken  from  common  life,  are  rather  un- 
pleasing,  nor  is  his  colour  harmonious.  He  aimed 
at  finding  out  a  new  method  of  mixing  colours. 
Vasari  remarks  that  "  he  sketched  his  compositions 
in  fresco,  but  finished  them  in  secco,  tempering  his 
colours  with  a  yolk  of  egg  mingled  with  a  liquid 
varnish,  prepared  over  the  fire."  Owing  to  this 
peculiar  process,  which  did  not  prove  to  be  success- 
ful, his  pictures  are  now  in  a  very  bad  state  of 
preservation.  With  better  success,  Baldo\'inetti 
devoted  himself  to  works  in  mosaic,  which  art  had 
not  been  practised  at  Florence  for  about  a  century. 
In  1481  he  restored  the  mosaic  picture  over  the  por- 
trait of  San  Miniato,  at  Monte,  and  in  the  following 
years  (1482 — 1490)  the  more  important  mosaics  in 
the  tribuna  and  in  the  cupola  of  the  Baptistery. 
He  died  at  Florence,  in  the  hospital  San  Paolo, 
August  29,  1499,  and  was  buried  in  San  Lorenzo. 
His  best  scholar  was  Domenico  Ghirlandajo,  who 
afterwards  painted  his  portrait  near  that  of  him- 
self in  the  frescoes  of  Santa  Maria  Kovella 
(Vasari).     Of  his  works  may  be  mentioned: 

Bergamo.       Gaflerv.     His  own  Portrait. 
Florence.  Uffizi.     Enthroned  Yirgin  and  Child,  with 

Six  Saints. 

„    SS.  Annujiziata.  The  Xativity. 

„       San  Jlitiiato.     Annunciation. 

J.  P.  B. 
BALDEEY,  John,  an  English  painter,  was  bom 
about  1760.  He  exhibited  portraits  at  the  Royal 
Academy  in  1793  and  1794,  and  also  engraved  a 
few  portraits,  and  other  subjects,  in  the  chalk  stj-le. 
He  was  living  in  1821.  Among  his  best  works 
are  the  following : 

Di  ana  and  her  Nymphs ;  after  Carlo  Maratti. 
The  Benevolent  Physician ;  after  E.  Fenny. 
Lady  Eawdon ;  after  Set/nolds. 
The  Finding  of  Moses ;  after  Salvator  Moia, 

BALDRIGHI,  Giuseppe,  was  bom  at  Stradella, 
near  Pavia,  in  1723.  After  studjdng  for  some 
years  at  Florence,  imder  Vincenzo  Meucci,  and 
imder  Boucher  in  Paris,  he  was  invited  to  the  Court 
of  Parma,  where  he  was  Bopointed  principal 
painter  to  the  Duke.  He  established  a  school  of 
painting  in  that  city,  which  was  much  frequented. 
One  of  his  most  admired  productions  is  a  picture 
of  '  Prometheus  released,'  in  the  Academy  at 
Parma  ;  he  likewise  painted  a  large  picture  of  the 
family  of  Philip,  Duke  of  Parma,  which  gained 
him  great  reputation.  His  own  portrait  is  in  the 
UfiBzi,  Florence.     He  died  at  Parma  in  1802. 

BALDUCCI,  GlovAXNi,  called  Cosci,  after  his 
maternal  uncle,  was,  according  to  BaJdinucci,  a 
native  of  Florence ;  he  was  a  scholar  of  Battista 
Naldini.  In  1590  he  went  to  Rome,  where  he 
was  taken  under  the  protection  of  the  Cardinal 
Alessandro  de'  Medici,  afterwards  Leo  XI.,  by 
whom  he  was  employed  for  some  time.  Several 
of  his  works  are  at  Rome  and  Florence.  Towards 
the  latter  end  of  his  life  he  visited  Naples,  where 
he  painted  some  pictures  for  the  churches.  He 
died  there  in  1603. 

BALDDCCI,  Matted,  a  native  of  Fontignano, 
was  an  associate  of  Bazzi  between  1517  and  1523. 
In  the  following  year  he  painted  an  altar-piece  in 

74 


San  Francesco  di  Pian,  Castagniano,  in  Montami- 
ata ;  and  works  by  him  are  seen  in  the  Academy 
and  churches  of  Siena. 

BALDUN6,  Hans,  (called  Gbien  or  Gbdn,  pro- 
bably from  his  habit  of  dressing  in  green,)  was 
bom  at  Gmiind,  in  Swabia,  between  1475  and 
1480 ;  he  was  a  painter,  engraver,  and  designer. 
Nothing  is  known  of  the  youth  of  this  important 
artist,  and  two  altar-pieces  in  the  Convent  of 
Lichtenthal,  near  Baden-Baden,  dated  1496,  are 
thought  to  be  his  earliest  productions.  His  first 
authenticated  painting,  dated  1501,  representing 
the  portrait  of  the  Emperor  Maximilian,  is  in  the 
artist's  sketch-book,  in  the  Cabinet  of  Engravings 
at  Carlsruhe.  In  1507  he  painted  the  altar-piece 
of  St.  Sebastian,  lately  in  the  possession  of  Herr  Fr. 
Lippmann  at  Vienna,  and  probably  also  the '  Adora- 
tion of  the  Magi,'  in  the  Museum  at  Berlin.  It  is 
very  likely  that  Baldung  worked  at  Nuremberg 
from  1507  to  1509,  where  he  executed  under  the 
direction  of  Albrecht  Diirer  the  copies  of  '  Adam 
and  Eve,'  after  that  master,  in  the  Pitti  Palace  at 
Florence,  and  also  probably  assisted  him  in  other 
works.  In  1509  he  removed  to  Strasburg  and 
bought  the  freedom  of  that  city ;  in  1511  he 
went  to  Freiburg,  but  according  to  the  chroniclers 
stayed  subsequently  several  times  at  Strasburg, 
where  he  died  in  1545.  He  was  highly  esteemed 
by  the  nobility  of  his  time,  especially  by  the 
Margrave  of  Baden,  and  stood  on  very  intimate 
terms  with  Albrecht  Diirer.  Baldung,  though  he 
properly  belongs  to  the  Swabian  school,  exhibits 
in  his  works  a  close  imitation  of  the  style  of 
Albrecht  Diirer.  He  shows  himself  as  a  most 
energetic  and  characteristic  artist ;  he  possessed 
an  uncommon  gift  of  invention  and  expression, 
but  was  too  capricious  and  impetuous,  and  often 
too  fantastic.  His  colouring  is  excellent,  except 
in  his  latest  productions,  where  the  carnations  are 
too  pale.  He  painted  religious,  mythological,  and 
allegorical  subjects,  and  portraits.  It  may  here  be 
added  that,  if  the  altar-pieces  at  Lichtenthal  are 
really  by  him,  there  is  sufficient  proof  that  he 
studied  first  die  works  of  Schongauer.  His  chef- 
d'(euvre  is  an  altar-piece  in  the  cathedral  of  Frei- 
burg; it  bears  the  inscription,  Joannes  Baldung 
Cog.  Geien  Gamundiantjs  Deo  et  Vibtute  Auspi- 
ciBUS  Faciebat  1516.  It  represents  the  'Corona- 
tion of  the  Virgin,'  on  the  inside  wings  the 
•  Twelve  Apostles,'  and  on  the  outside  the  '  Visita- 
tion,' the  '  Fhght  into  Egypt,'  the  'Nativity,'  and 
an  '  Annunciation,'  which  Kugler  attributes  to 
another  painter. 

His  designs,  distinguished  for  their  excellent 
conception  and  a  surety  of  hand  reminding  us  of 
Albrecht  Durer,  are  to  be  met  with  at  Basle,  Berlin, 
Carlsruhe,  Copenhagen,  Florence,  Hanover,  Lon- 
don, Paris,  and  Vienna. 

As  an  engraver  on  copper,  he  was  not  very 
excellent  in  the  technicalities.  The  following  plates 
may  be  mentioned : 

The  Man  of  Sorrows. 

The  Groom,  considered  his  best ;  an  etching. 
An  old  man  kissing  a  girl ;  an  etching.     1507. 
St,  Sebastian. 

He  was,  however,  more  excellent  as  a  draughts- 
man on  wood.  What  has  been  said  of  his  paintings 
may  be  repeated  for  his  woodcuts  ;  at  present  we 
know  over  60  prints  by  him,  which  are  _^ 

signed  with  very  different  monograms,  TqN. 
sometimes  the  two  letters  H.  B.  imited. 


ALESSO   BALDOVINETTI 


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THE  ANNUNCIATION 


\Uffizi  Gallery,  Florence 


PAINTERS  AND  ENGRAVERS. 


Adam  and  Eve  in  Paradise,  Eve  plucking  the  Apple. 
The  Fall  of  Adam ;  inscribed  on  a  Tablet,  Lapsus  hu- 

mani  generis,    1511. 
Christ  and  the  Twelve  Apostles;  in  thirteen  plates. 

1518. 
The  Crucifixion,  with  St.  John  supporting  the  Virgin, 

and    Mary  Magdalene  behind  the   Cross ;    fine,   in 

chiaroscuro. 
Illustrations  to  the  Ten  Commandments.    1516, 1518, 

1531. 
St.  Sebastian,  two  different  prints.     1512  and  1514. 
A  Pieta. 

Silenus  drimk,  near  a  Tun :  Cupid  insulting  him. 
An  Incantation  ;  in  chiaroscuro.     1510. 
Two  Landscapes ;  very  scarce. 
The  Groom  and  the  Sorceress  ;  no  date. 
Four  small  upright  prints — Solomon's  Idolatry ;  Samson 

and  Delilah;  David  and  Bathsheba;   and  Aristotle 

and  Phryne.    Very  fine. 
The  Holy  Family,  with  St.  Elisabeth  and  St.  Catharine ; 

half  length.     1512. 
Three  prints  of  Horses  in  a  Forest ;  marked  Baldunij. 

1534. 
The  Fates. 

The  two  mothers,  called  the  '  Kinderaue.' 
Phyllis  riding  ou  Aristotle. 
The  portrait  of  Luther. 
The  portrait  of  the  Margrave  of  Baden. 
.     The  Virgin  with  St.  Anna,  both  holding  the  Infant 

Christ ;    St.  Joseph,  St.  Joachim  behind.     A  large 

print. 

The  following  are  his  most  important  paintings  : 

Aschaffenburg.  Gait.     Christ  on  the  Cross. 

„  „  Joseph    and    Mary    adoring    the 

Infant  Christ. 
.Basle.  Gallery.    Death  and  a  Woman 

Berlin.  Museum.  Christ  on  the  Cross.     152 — . 

„  „  Christ  on  the  Cross.     1512. 

„  „  Triptych.   Adoration  of  the  Kings 

— SS.  George  and  Maurice  on  the 
wings,  and  SS.  Catharine  and 
Agnes  on  the  exterior.     1507. 
„  „  Stoning  of  St.  Stephen.     1522. 

Darmstadt.    Gallery.     '  Noli  me  tangere.'    1539. 
Frankfort.      Stadel.        Heavenly  and  Earthly  Love. 
Freiburg.        Cathedral.  Altar-piece  (see  text). 
Munich.       Pinakothek.  Portrait  of  the  Margrave  Philipp 

Christoph  of  Baden.     1514. 
ScIileissheim.Ga?ZtT^.      Portrait  of  the  Margrave  Philipp 

Christoph  of  Baden.     1515. 
Vienna,  Gallery.     Portrait  of  a  young  man.     1515. 

n  »  His    own    Portrait — clothed    in 

green. 

W.  B.  S. 

BAL^CHOU,  Jean  Joseph,  a  celebrated  Frencli 
engraver,  was  born  at  Aries  in  1719.  He  studied 
first  under  a  seal-engraver  named  Michel  at  Avig- 
non, and  afterwards  under  Lepicie  in  Paris : 
but,  compelled  to  leave  that  city,  he  returned 
to  Avignon,  where  he  died  in  1764.  Balechou 
carried  the  handling  of  the  graver,  as  far  as 
regards  the  clearness  of  the  strokes  and  brilliancy 
of  colour,  to  a  higher  perfection  than  any  engraver 
of  his  country  that  had  practised  the  art  before 
him;  and  if  neatness  of  execution  were  the  greatest 
merit  of  a  print,  few  artists  would  have  an  equal 
claim  to  distinction  ;  but  if  the  excellence  of  the 
plate  consists  in  expressing  the  effect  produced  by 
the  painter,  and  in  giving  the  true  design,  and,  if  it 
may  be  so  expressed,  the  colour  of  the  picture, 
his  pretensions  to  superiority  will  be  considerably 
diminished.  Notwithstanding  the  fascination  of 
his  execution,  it  will  be  admitted  by  every  judicious 
observer,  that  his  flesh  appears  like  marble,  and 
that  the  deficiency  of  his  drawing  incapacitates 
him  from  giving  the  true  effect  of  the  style  and 
character  of  the  painter.  This  defect,  it  must  be 
confessed,   is   most  discernible   in   his   historical 


prints  and  some  of  his  portraits ;  and  it  will  be 
admitted  that  his  three  plates  after  Vernet  are 
among  the  fine  productions  of  the  graver,  although 
they  have  been  so  much  surpassed  by  our  own 
incomparable  Woollett.  The  following  are  his  most 
important  works : 

PORTRAITS. 
Anne  Charlotte  Gauthier  de  LoiseroUe,  wife  of  J.  A. 

Aved ;  after  Aved. 
William  IV.,  Stadtholder  of  the  Netherlands,  when 

Prmce  of  Orange ;  after  the  same. 
Prosper  Jolyot  de  Crebillon  ;  1751 ;  after  the  same;  fine. 
Jacques   Gabriel   Grillot,    abbe    de    Pontigny;    after 

.Autreait. 
Charles  Kollin ;  1741 ;  after  C.  Coypel. 
Charles  Poree,  Jesuit ;  after  Neilson. 
Heinrich,  Count  von  Briihl ;  after  L.  Silvestre ;  fine ;  but 

it  must  be  before  the  name  of  Balechou,  as  it  was  ill 

retouched. 
Jean  de  Jullienne,  director  of  the  Gobelins ;   1752 ; 

after  De  Troy. 
Madame  Jullienne ;  after  the  same. 
Don  Philip,  Infanta  of  Spain,  Duke  of  Parma;  after 

Viahj. 
Charles  Antoine  Coypel,  painter;  after  himself. 
Augustus  III.,  King  of  Poland  ;  after  Rigaiid ;  the  first 

impressions  are  very  fine;  the  plate  was  afterwards 

much  altered 

SUBJECTS    AFTER   VARIOUS   MASTERS. 

Infancy  and  Youth ;  two  fancy  subjects ;  after  D.  Bardon. 

Five  fancy  subjects ;  after  E.  Jeaurat. 

Le  Terre ;  the  Portrait  of  Louisa  Elizabeth  of  France, 

Duchess  of  Parma;  after  Nattier. 
St.  Genevieve ;  after  C.  van  Loo. 
The  Storm;  after  Vernet  {his  ehef-d'oeuvre). 
The  Calm ;  after  the  same. 
The  Bathers ;  after  the  same. 

BALEN,  Hendrik  van,  who  was  born  at  Ant- 
werp in  1560,  is  said  to  have  been  instructed  in 
the  art  by  Adam  van  Noort,  who  was   also  the 
master  of  Rubens.    On  leaving  that  school  he  went 
to  Italy,  where  he  studied  some  years,  and  painted 
several  pictures  which  were  greatly  admired.     On 
his  return  to  Antwerp  he  was  so  much  employed 
that  it  was  with   difficulty  he  could   satisfy  the 
demand  for  his  works.     In  1593  he  was  received 
into  the  guild  of  St.  Luke,  and  in  1609-10  he  was 
dean.     Balen  was  one  of  the  first  of  the  Flemish 
painters  who  succeeded  in  that  purity  of  colour, 
which  was  afterwards  carried  to  such  perfection 
by  Rubens  and  Van  Byck.    In  his  cabinet  pictures 
he  generally  made  choice  of  very  agreeable  sub- 
jects, and  frequently  represented  the  '  Metamor- 
phoses '  of   Ovid,  in  which  the  landscapes  were 
generally  painted  by  Jan  Brueghel,  and  the  animals 
sometimes  by  Snyders,  who  with  Van  Dyck  was  a 
pupil  of  Van  Balen.    His  works  of  this  description 
were  extremely  popular,  and  were  placed  in  the 
choicest  collections.    He  did  not,  however,  confine 
himself  to  works  of  a  small  size,  but  painted,  with 
less  success  however,  many  pictures  for  the  churches. 
In  the  cathedral  at  Antwerp  there  is  a  fine  altar- 
piece   by  him.     The  centre  piece  represents  the 
'  Virgin  Mary,  with  the  Infant  Saviour  and  St.  John ; ' 
and  on  the  two  folding-doors,  which  are  now  in 
the  Antwerp  Gallery,  a  '  Choir  of  Angels.'     For 
another  altar  in  the  same  church  he  painted  '  St. 
John  preaching  in  the  Wilderness,'  also  now  in  the 
Antwerp  Gallery ;  well  composed  and  admirably 
coloured.     Van  Balen  occasionally  painted  figures 
in  the  landscape  pictures  of  other  artists.    He  died 
at  Antwerp  in  1638  (or  1632).     The  following  are 
some  of  the  best  of  his  works ;   they  frequently 
occur  in  the  continental  galleries,  but  he  is  un 
represented  in  the  National  Gallery  : 

75 


A  BIOGRAPHICAL  DICTIONARY  OF 


Amsterdam,  Bacchus  and  Diana.  Berlin,  The  "Work- 
shop of  Vulcan  (part  by  Jan  Brueghel).  Brussels, 
Plenty  (part  hi/ Brueghel).  Cassel,  Diana  and  Actseon. 
Dresden,  Diana  and  her  Nymphs  surprised  by 
Action ;  Bacchus  and  Ariadne  (signed).  Hague, 
Offering  to  Cybele.  Munich,  A  Bacchanalian  Scene ; 
The  Feast  of  the  Gods.  Paris,  A  Feast  of  the  Gods 
(signed).  Petersburg,  Repose  of  the  Holy  Family; 
Virgin  and  Child.     Vienna,  Jupiter  and  Europa, 

BALEN,  Jan  van,  the  son  of  Hendrik  van 
Balen,  was  bom  in  1611  at  Antwerp,  and  was 
instructed  by  his  father.  After  having  made  con- 
siderable progress  in  the  art,  his  father  sent  him  to 
Italy,  where  he  had  himself  derived  such  advan- 
tage from  his  studies.  He  remained  some  years 
at  Rome,  and  appears  to  have  attached  himself  to 
the  works  of  Francesco  Albani,  whose  charming 
style  he  has  imitated  without  attending  to  his 
purity  of  design.  He  returned  to  Antwerp  in 
1642,  and  died  there  in  1654.  In  all  his  pictures 
the  style  of  his  country  is  discernible  ;  although 
his  colouring  is  excellent,  and  his  pencil  free  and 
flowing,  we  have  always  to  regret  his  want  of 
taste,  and  his  inattention  to  the  correctness  of  his 
oiitb"ne.  He  had  two  brothers,  GaspaR  (born  in 
1615)  and  Hendrik  (born  in  1620),  who  were  both 
painters. 

BALEN,  ilAlTHlJS  VAN,  who  was  born  at  Dor- 
drecht in  1684,  studied  under  Arnold  Houbraken, 
and  became  a  good  painter  of  historical  pieces, 
landscapes,  and  portraits  ;  he  also  practised  the  art 
of  engraving.  He  died  in  his  birthplace  at  a  great 
age.  The  Darmstadt  Gallery  has  a  '  Holy  Family ' 
in  a  Landscape  attributed  to  him. 

BALESTRA,  Antonio,  was  born  at  Verona  in 
1666.  He  was  first  instructed  in  art  by  Giovanni 
ZefSo  ;  but  at  the  age  of  21  he  went  to  Venice, 
and  became  the  scholar  of  Antonio  Bellucci. 
After  passing  a  short  time  vrith  this  master  he 
went  to  Bologna,  where  he  remained  some  time, 
and  afterwards  visited  Rome,  where  Carlo  Maratti 
was  then  in  high  reputation.  He  attended  the 
school  of  that  master,  gained  the  prize  at  the  Aca- 
demy- of  St.  Luke  in  1694,  and  was  employed  to 
paint  several  pictures  for  the  churches  and  palaces 
at  Rome.  He  subsequently  resided  for  many  years 
in  Venice,  and  died  at  Verona  in  1740.  His  style 
bears  some  resemblance  to  that  of  Carlo  Maratti, 
and  his  works  are  held  in  considerable  estima- 
tion. He  selected  the  best  points  from  every 
school,  uniting  a  variety  of  beauties  in  a  style  of 
his  own,  wliich  partakes  least  of  all  of  the  Vene- 
tian, though  he  taught  in  Venice.  He  promoted 
the  reputation  of  that  school  both  by  his  lectures 
and  example,  and  left  two  excellent  imitators  in 
his  scholars  Mariotti  and  Nogari.  In  the  church  of 
Sant'  Ignazio  at  Bologna  is  a  picture  by  this  master, 
representing  the  '  Virgin  and  Infant,  with  St.  Igna- 
tius and  St.  Stanislaus.'  The  churches  of  Venice, 
Vicenza,  Padua,  Brescia,  and  Verona  also  possess 
examples  of  his  art.  Balestra  etched  some  plates 
from  his  own  designs  in  a  free,  masterly  style : 
these  are  sometimes  marked  -n-ith  his  name  at 
length,  sometimes  with  a  cipher.  We  have  by 
him,  amongst  others : 

The  Sketch  of  the  Head  of  a  'Warrior.  Two  Soldiers. 
The  Virgin  Mary  and  Infant  in  the  Clouds,  with  St. 
John;  ia^cTihed  JLiter  piilchrte  dUectiom's  ;  Antonim 
Bill  stra  in.  et  fecit:  1702.  A  Vignette,  with  two 
figures  holding  a  Flag;  I'erona  Jidelis.  Portrait  of 
Michele  Sanmicheli. 

BALESTRA,   Giovanni,   an   Italian    engraver, 


was  born  at  Basssno  in  1771.  He  studied  under 
Count  Remondini,  and  in  1803  went  to  Rome, 
where  he  remained  until  his  death,  which  took 
place  in  1843.     Among  his  principal  works  are  : 

Christ  and  the  Samaritan  "Woman  at  the  Fountain; 
after  Garofalo.  The  Penitent  Magdalene ;  after 
Murillo.  Madonna  del  Rosario ;  after  Sassoferrato. 
Aurora  and  Cephalus;  after  Annibale  Carracci. 

BALLANTVNE,  John,  son  of  Alex.  Ballantyne, 
and  a  member  of  the  celebrated  family  of  Scotch 
painters.  He  exhibited  his  first  picture  at  the 
Royal  Academy  when  quite  young.  He  occupied 
much  of  his  time  by  copying  Old  Masters  in  the 
principal  Galleries  on  the  Continent,  and  he  also 
executed  a  series  of  portraits  of  celebrated  painters 
in  their  studios,  one  of  which,  that  of  Sir  Edwin 
Landseer,  was  presented  to  the  National  Gallery 
by  Sir  H.  Agnew.  He  was  elected  a  member  of 
the  Royal  Scottish  Academy  in  1845,  and  died  in 
1897. 

BALLENBERGER,  Karl,  who  was  bom  at 
Ansbach  in  1800,  went  to  Munich  as  a  stone-mason 
in  1831,  and  was  there  instructed  in  drawing  by  Fr. 
Hofistadt,  and  subsequently  attended  the  Academy. 
He  established  himself  at  Frankfort,  and  became 
very  intimate  with  Philipp  Veit.  He  followed  the 
romantic  style  of  his  time,  and  studied  with  the 
greatest  perseverance  old  German  art.  His  chief 
paintings  are  the  portraits  of  Conrad  I.,  Louis 
of  Bavaria,  and  Rupert  of  the  Palatinate,  in  the 
Imperial  Hall  of  the  '  Romer,'  at  Frankfort.  He 
etched  a  plate  of  the  arms  of  artists.  His  '  Death 
of  St.  Meinrad '  has  been  engraved  by  H.  Niisser. 
He  died  at  Frankfort  in  1860. 

BALLI,  SiMONE,  a  Florentine  artist,  who,  not 
being  duly  appreciated  in  his  own  city,  went  to 
Genoa  and  practised  under  Pazzi.  His  style 
resembled  that  of  Andrea  del  Sarto.  In  addition  to 
his  pictures  for  the  churches  of  Genoa,  he  painted 
small  works  on  copper.  He  flourished  about  1600, 
and  died  at  an  advanced  age. 

B.4LLINI,  Camillo,  the  son  of  Gaspare  Ballini, 
a  goldsmith  at  Venice,  and  pupil  of  Jacopo  Palma 
'  the  younger,'  flourished,  according  to  Zani.  about 
the  latter  part  of  the  16th  century  :  he  was  both  a 
painter  and  engraver.  Lanzi  says  he  painted  in 
Venice  in  the  age  of  the  Mannerists  ;  Zani  speaks 
.of  him  as  an  artist  of  talent,  and  Lodovico 
Dolce  commends  him  for  his  apphcation  and 
assiduity.  Numerous  decorative  paintings  by  him 
are  in  the  Doge's  Palace  at  Venice. 

BALLIU,  P.  DE,  (or  Bailliu).    See  De  Bailliu. 

BALMER,  George,  the  son  of  a  house-painter, 
was  born  at  North  Shields  about  1806.  He  was 
brought  up  as  a  decorator,  and,  whOe  young, 
practised  at  Edinburgh.  Always  fond  of  art,  he 
found  time  to  contribute  to  an  Exhibition  of 
Water-Colour  Drawings  in  Newcastle  in  1831,  and 
afterwards  assisted  W.  J.  Carmichael  in  painting 
the  large  picture,  '  The  Heroic  Exploit  of  Admiral 
Collingwood  at  Trafalgar,'  now  in  the  Trinity 
House  at  Newcastle.  Soon  afterwards,  Balmer 
visited  Holland,  the  Rhine,  and  Switzerland,  stay- 
ing on  his  way  home  at  Paris,  where  he  studied 
the  masterpieces  in  the  Louvre.  On  his  return  he 
settled  in  London,  and  for  several  years  exhibited 
pictures  of  the  Rhine,  coast  scenes,  and  moon- 
light views.  In  1836  he  suggested  to  the  Findens 
the  publication  of  a  work  on  '  The  Ports  and  Har- 
bours of  Great  Britain,'  for  which  he  made  many 
drawings.  Soon  after  he  came  into  property,  and 
in  1842  retired  to  Ravensworth,  in  the  county  of 


PAINTERS  AND  ENGRAVERS. 


Durham,  where  he  died  in  the  prime  of  life  in 
April,  1846. 

BALTARD,  Louis  Pierre,  a  French  architect, 
painter,  and  engraver,  was  born  in  Paris  in  1764. 
He  occupied  himself  first  with  landscape-painting 
and  engraving,  and  was  instructed  in  architecture 
by  Peyre  the  younger.  In  1786  he  went  to  Rome 
for  two  years ;  in  1792  he  designed  decorations  for 
the  Opera  at  Paris.  Soon  after  he  was  made  pro- 
fessor of  architecture  at  the  Polytechnic  School, 
and  subsequently  at  the  Bcole  des  Beaux-Arts. 
He  died  in  Paris  in  1846.  He  executed  part  of 
the  plates  for  the  'Expedition  to  Egypt,'  and 
began  to  publish  at  the  same  time,  in  1803,  his 
'  Paris  et  ses  Monumens.'  The  work  was  left 
unfinished  with  the  25th  part  on  account  of  the 
great  expense.  His  plates  are  of  a  light  and  pure 
design  :   among  them  may  be  mentioned  : 

Des  Monuments  antiques  de  Rome,  48  plates;  1806. 
Galerie  fran^aise  des  productious  de  tous  les  Arts, 
14  parts.  La  Colonne  Vendome,  145  plates  ;  1810. 
Es.sai  m^thodique  sur  la  decoration  des  monuments, 
120  plates ;  1817.     Portrait  of  N.  Poussin. 

BALTHAZAR,  Domenico.     See  De  Costere. 

BALTHAZAR,  Pieter,  (Baltens,  or  Balten.) 
See  De  Costere. 

BALTZ,  J.  Georges,  a  painter  of  miniature 
portraits  and  landscapes  on  porcelain,  was  born  at 
Strasburg  in  1760.     He  died  in  Paris  in  1831. 

BALZAC,  Charles  Lodis,  who  was  born  in 
Paris  in  1752,  was  an  architect  and  architectural 
draughtsman.  He  made  many  drawings  for  De- 
non's  work  on  the  monuments  of  Egypt,  and  also 
views  of  various  interesting  Egyptian  buildings, 
Buch  as  the  interior  of  the  Mosque  at  Hassan,  the 
Palace  of  Kamac,  the  Great  Sphinx,  and  the 
Pyramids  of  Ghizeh.    Balzac  died  in  Paris  in  1820. 

BALZE,  Paul  Jean,  enamel  painter,  bom  at 
Rome  of  French  parents  in  1815,  was  a  pupil  of 
Ingres.  He  was  best  known  by  copies  made  in 
conjunction  with  his  brother  Raymond  Joseph,  of 
Raphael's  frescoes  in  the  Vatican,  a  work  on  which 
he  was  engaged  ten  years.  He  also  worked  for 
Parisian  churches.     He  died  in  1884 

BALZER,  JoHANN,  a  Bohemian  engraver,  was 
bom  at  Kukus,  in  Bohemia,  in  1738.  He  was 
first  instructed  in  art  by  Rentz,  but  subsequently 
completed  his  education  by  travelling  through 
Germany,  where  he  visited  several  Academies. 
He  chiefly  resided  at  Prague,  where  he  produced 
numerous  works,  mostly  portraits,  and  died  in 
1799.  He  left  two  sons,  Anton  (1771—1807)  and 
JoHANN  Karl  (1771 — 1805),  who  were  both  en- 
gravers. In  conjunction  with  his  brothers  Mathias 
and  Greoor,  and  his  son  Johann  Karl,  Johann 
Balzer  engraved  and  published  several  works ; 
amongst  which  are  the  following  : 

A  set  of  fifty  plates  of  Landscapes  and  Architectural 
subjects,  with  Biblical,  mythological,  and  genre  groups 
of  figures;  after  Xorbert  Grund,  an  old  German 
painter. 

Two  sets  of  Portraits  of  Artists  and  Learned  Men  of 
Bohemia  and  Moravia;  published  at  Prague  in  the 
years  1773  to  1782  (ninety  plates). 

BAMBERGER,  Friedrich,  born  at  Wiirzburg 
in  1814,  was  instructed  in  the  principles  of  paint- 
ing at  Dresden  ;  he  afterwards  visited  the  Aca- 
demy at  Berlin,  and  became  a  disciple  of  Krause, 
a  painter  of  marine  pictures,  and  at  Cassel  of 
Primavesi,  an  engraver.  In  1832  he  went  to  Munich, 
where  he  became  acquainted  with  Rottmann,  whom 
he  subsequently  followed  in  his  landscapes,  with 
great  success.     In  1845  he  visited  Normandy  and 


England,  and  one  of  his  best  paintings  of  that 
time  is  the  '  Battle-field  of  Hastings,  with  a  view  of 
the  sea.'  After  a  first  journey  to  Spain  he  settled 
at  Munich,  but  subsequently  paid  two  more  visits 
to  that  country.  Many  of  his  Spanish  landscapes 
were  highly  esteemed,  but  he  did  not  possess  the 
capacity  of  producing  great  effects.  Several  of  his 
productions  are  in  the  Pinakothek  and  the  Schack 
Gallery  at  Munich.  His  drawings  and  studies  are 
of  especial  merit.  He  died  at  Neunenhain,  near 
Soden,  in  the  Taunus,  in  1873. 

BAMBINI,  GlACOMO,  who  was  born  at  Ferrara 
about  1582,  was  a  scholar  of  Domenico  Mona. 
There  are  many  of  the  works  of  this  master  in 
the  churches  and  other  public  edifices  in  his  native 
city.  In  the  cathedral  are  three  altar-pieces,  re- 
presenting the  '  Annunciation,'  the  '  Flight  into 
Egypt,'  and  the  '  Conversion  of  St.  Paul.'  He 
died  at  Ferrara  in  1622  or  1628.  A  particular 
account  of  his  other  works  will  be  found  in 
Barotti's  Pitture  e  Scolture  di  Ferrara. 

BAMBINI,  CavaUere  Niccol6,  was  born  at  Venice 
in  1651,  and  first  studied  under  Giulio  Mazzoni  at 
Venice ;  but  afterwards  went  to  Rome,  where  he 
became  a  scholar  of  Carlo  Maratti.  According  to 
Lanzi,  he  was  a  correct  and  elegant  designer,  with 
a  chaste  and  simple  principle  of  colouring.  Some- 
times he  designed  in  the  taste  of  the  Roman  school, 
as  in  his  picture  of  San  Stefano,  painted  soon  after 
his  return  from  Rome  ;  and  at  others  he  imitated 
the  style  of  Liberi,  particularly  in  the  beauty  of 
his  female  heads.  He  died  at  Venice  in  1736.  He 
had  two  sons,  Giovanni  and  Stefano  Bambini, 
who  painted  in  the  style  of  their  father. 

BAMBOCCIO.  .See  Laar,  Pieter  van. 

BAMBSBIER,  Johann,  a  portrait  painter,  of 
German  extraction,  was  a  disciple  of  Lambert 
Lorabardus.  He  was  born  in  1500,  and  died  in 
1598,  at  Amsterdam. 

BAMPFYLDE,CoPLESTONEWARRB,awell-known 
amateur,  of  Hestercombe,  Somersetshire,  was  the 
only  son  of  John  Bampfylde,  M.  P.  He  was  an 
honorary  exhibitor  of  landscapes  at  the  Academy 
towards  the  end  of  the  18th  century,  and  a  few  of 
his  works  have  been  engraved  by  Vivares  and 
others.     He  died  in  1791. 

BANCHERO,  Angelo,  was  born  in  1744  at 
Sestri,  near  Genoa,  and  went  to  Rome  and  studied 
painting  under  Pompeo  Batoni.  On  his  return  he 
executed  various  pictures  for  the  churches  of 
Genoa.  Especially  noticed  is  a  '  St.  John  in  Prison,' 
painted  for  his  native  Sestri.  Banchero  died  in 
1793. 

BANCK,  Van  der.    See  Van  der  Banck. 

BANCKS,  Charles,  (or,  as  he  usually  wrote  it, 
Banks,)  was  a  Swiss  by  birth,  but  settled  in 
England  in  1746,  while  still  young.  He  practised 
the  art  of  miniature  painting,  and  occasionally 
exhibited  at  the  Royal  Academy  in  the  latter  part 
of  the  18th  century. 

BANDIERA,  Benedetto,  was  bom  at  Perugia 
in  1557.  From  the  resemblance  of  his  works  to 
those  of  Federigo  Barocci,  it  is  supposed  he  was 
a  disciple  of  that  master.  He  painted  history, 
both  in  oil  and  in  fresco,  and  his  pictures  were  in 
considerable  repute.    He  died  in  1634. 

BANDINELLI,  Bartolommeo,  or  Baccio,  was 
bom  at  Florence  in  1493.  He  was  a  very  dis- 
tinguished sculptor  ;  and  if  he  was  not  so  success- 
ful as  a  painter,  he  is  yet  entitled  to  our  notice 
from  the  grandeur  of  his  design,  although  he  did 
not  succeed  equally  well  as  a  colourist.     He  was 

77 


A  BIOGRAPHICAL  DICTIONARY  OF 


extremely  jealous  of  the  fame  of  Michelangelo,  and 
was  ambitious  of  excelling  in  both  arts,  in  imita- 
tion of  that  great  master.  But  it  is  seldom  that 
human  nature  is  endo-sred  with  the  faculties  of 
that  Dlustrious  artist,  and  it  is  probable  that  what- 
ever merit  Bandinelli  possessed  as  a  painter,  was 
deprived  of  the  tribute  to  which  it  might  be 
entitled,  by  being  brought  into  the  lists  against  so 
gigantic  an  adversary.  His  principal  works,  as  a 
painter,  were  the  'Murder  of  the  Innocents,'  en- 
graved by  Marco  da  Ravenna,  and  the  '  Martyrdom 
of  St.  Laurence,'  engraved  by  Marc-Antonio.  He 
died  at  Florence  in  1560.  A  series  of  Studies  of 
Animals  by  Bandinelli  is  in  the  Louvre,  Paris. 

BANKS,  Charles.     See  Bancks. 

BANNERMAN,  Alexander,  was  bom  at  Cam- 
bridge about  the  year  1730.  He  engraved  several 
of  the  portraits  for  Walpole's  'Anecdotes  of  Paint- 
ers,' and  some  plates  for  Boydell's  collection, 
among  which  are  : 

Joseph  interpreting  Pharaoh's  Dream;  after  SpagnoUtto. 
The  Death  of  St.  Joseph  ;  after  Velazquez. 
Children  Dancing;  after  Le  Xain. 

He  was  Hving  at  Cambridge  in  1770,  but  the 
date  of  his  death  is  unknown. 

BANNOIS,  — .  Strutt  mentions  this  artist  as 
the  engraver  of  a  portrait  of  Queen  Elizabeth  of 
England. 

BAPTIST,  Jacob.  This  artist,  a  native  of 
Deutekom,  probably  of  French  extraction,  resided 
at  Amsterdam  about  the  year  1720.  He  engraved 
principally  book-plates,  the  best  known  of  which 
are  the  plates  for  the  '  Histoire  du  Vieux  et  du 
Nouveau  Testament,'  from  the  designs  of  Goer^e 
and  others,  published  by  Mortier  at  Amsterdam 
in  1700.  They  are  executed  in  a  very  indififerent 
style. 

BAPTIST,  Jan  Caspab,  a  native  of  Antwerp, 
was  a  scholar  of  Thomas  Willeborts.  He  visited 
England  during  the  civil  war,  and  was  much  em- 
ployed by  General  Lambert.  After  the  Restora- 
tion he  became  an  assistant  to  Sir  Peter  Lely, 
and  afterwards  to  Sir  Godfrey  Kneller.  He  drew 
well,  and  excelled  in  making  designs  for  tapestry. 
The  portrait  of  Charles  II.  in  the  hall  of  the 
Painter-Stainers'  Company,  and  that  of  the  same 
king  in  the  hall  of  St.  Bartholomew's  Hospital, 
were  painted  by  him.  He  died  in  London  in 
1691. 

BAPTISTS.    See  Monnoteb. 

BAQUOY,  Jean  Charles,  the  eldest  son  of  Mau- 
rice Baquoy,  was  born  in  Paris  in  1721.  He  en- 
graved book-plates  after  the  designs  of  Eisen, 
Gravelot,  Moreau,  and  others,  among  which  are  a 
set  of  vignettes  for  the  French  translation  of 
'Ovid's  Metamorphoses,'  published  by  Basan,  which 
are  executed  in  a  finished  style,  and  a  set  of  plates, 
after  Oudry,  for  the  Fables  of  La  Fontaine.  He 
also  engraved  after  Boucher,  Watteau,  J.  Vemet, 
Wouwerman,  and  other  masters.  He  died  in 
Paris  in  1777. 

BAQUOY,  Maurice,  a  French  engraver,  was 
bom  about  1680,  and  worked  in  Paris  from  1710 
to  1740.  He  engraved  a  set  of  vignettes  for  the 
'  Histoire  de  France,'  by  Gabriel  Daniel,  from  the 
designs  of  Boucher.  We  have  also  by  him  a  set 
of  landscapes  and  views,  and  a  naval  combat,  after 
P.  D.  Martin,  the  younger — one  of  the  four  large 
battle-pieces  after  Jlartin  engraved  at  Paris  for 
the  Czar,  Peter  the  Great.     Baquoy  died  in  1747. 

BAQDOY,  Piebbe  Charles,  the  son  and  pupil  of 
Jean  Charles  Baquoy,  was  bom  in  Paris  in  1759. 

78 


Besides  a  variety  of  book-plates,  which  are  very 
neatly  executed,  we  have  by  him  several  prints 
after  French  painters.  He  died  in  Paris  in  1829. 
For  complete  lists  of  the  works  of  the  Baquoys 
see  Meyer's  '  Kiinstler-Lexikon.' 

BAR,  BoxAVEXTDBE  DE,  who  was  bom  in  1700, 
painted  after  the  manner  of  Watteau.  He  became 
a  member  of  the  Academy  at  Paris  in  September 
1728,  or  December  1727,  and  his  reception  painting, 
a  '  Fete  Champetre,'  is  in  the  Louvre.  He  died  in 
1729. 

BAR,  Jacques  Chables,  a  French  engraver, 
published,  in  1778,  a  series  of  coloured  plates  of 
the  costumes  of  military  and  religious  orders. 
Besides  these  he  executed  several  prints,  after  C. 
N.  Cochin,  fils,  and  one  called  'The  Village  Bath,' 
in  colours,  in  conjunction  with  Chatelet.  He 
worked  in  Paris  from  1777  to  1800. 

BARA,  Jan,  (or  Barba.)  a  Dutch  engraver,  who 
was  born  about  the  year  1574.  He  came  to  Eng- 
land, and  died  in  London  in  1634.  Meyer's 
'Kiinstler-Lexikon'  erroneously  confounds  him 
with  Johannes  de  la  Baer,  a  Flemish  glass-painter, 
who  was  still  living  in  1659-60.  He  appears  to 
have  imitated  the  style  of  the  Sadelers,  but  he  by 
no  means  arrived  at  their  exceUence.  His  works 
bear  date  from  1598  to  1632,  and  among  them  are 
the  following ; 

portraits. 

Christian  II.,  Elector  of  Saxony.     1605. 

Prince  Maurice  of  Nassan-Orange. 

Joachim,  Count  of  Ortenburg. 

Louis,  Duke  of  Bichmond  and   Lennox ;    after  Paul 

van  Somer.     1624. 
Henrietta  Maria,  Queen  Consort  of  Charles  I. 

VARIOUS   SUBJECTS. 

Bust  of  a  Man,  with  two  allegorical  figures  representing 

Painting  and  Science.     1622. 
A  Landscape,  with  Phaeton  demanding  of  Apollo  the 

conduct  of  his  Car  ;  Jo.  Barrafe. 
The  History  of  Tobit ;  after  Zapponi ;  four  plates. 
Christ   and   the   Apostles ;    after   Joost   van    JVingen ; 

thirteen  plates. 
Christ  and  His  Disciples  going  to  Emmans ;    Joann 

barra  fe. 
A  Landscape,  with  Susannah   and  the  Elders ;   Joh. 

Barra  fecit  Londini^  1627. 
The  Five  Senses  ;  Johannes  Barrafe.;  five  plates. 
The  Seasons  ;  after  P.  Steevens  ;  four  plates. 
Susannah  and  the  Elders  :  after  H.  Goltzius.    1598. 
Bathsheba  bathing ;  after  G.  Tf'eyer. 
The  Parable  of  the  Sower  ;  after  A.  Bloemaert. 
Herodias,  with  the  Head  of  St.  John  the  Baptist ;  after 

Johann  von  Aachen. 
Twelve  plates  of  Grotesque  Ornaments ;  after  yicasius 

Sousseel,  marked   Johan :   Barra :   sculp.     Landinij. 

1623. 

BARABBINO,  Simone,  was  bom  at  Polcevera, 
near  Genoa,  about  the  year  1585,  and  was  a  dis- 
tinguished scholar  of  Bernardo  Castello.  His 
extraordinary  talent  alarmed  the  jealousy  of  his 
instructor  to  such  a  degree  that  he  expelled  him 
from  his  Academy.  He  soon  afterwards  painted  a 
picture  of  '  St.  Diego,'  for  the  Nunziata  del  Guas- 
tato,  which  Soprani  considered  equal  in  merit  to 
the  work  of  Castello.  Not  meeting  with  the  en- 
comagement  he  merited  at  Genoa,  he  established 
himself  at  Milan,  where  he  received  the  tribute 
due  to  his  ability,  which  his  fellow-citizens  had 
denied  him.  One  of  the  finest  works  of  this 
painter  is  the  '  Dead  Christ  with  the  Virgin,  St. 
Michael,  and  St.  Andrew,'  in  the  church  of  San 
Girolamo  at  Milan.  Lanzi  says  he  quitted  his 
profession  and  turned  to  merchandise,  in  which 


PAINTERS  AND  ENGRAVERS. 


he  did  not  succeed,  and  that  he  died  in  prison. 
He  must  have  been  quite  old  when  he  died,  as  Zani 
says  he  was  living  in  1664. 

BARABE,  — ,  a  French  architect  and  engraver, 
a  native  of  Rouen,  flourished  about  the  year  1730 
at  Paris  and  Versailles.  He  engraved  prints  of 
architectural  subjects,  and  was  one  of  the  first  to 
work  in  aquatint. 

BARATTA,  Antonio,  (or  Baraiti,)  an  Italian 
designer  and  engraver,  was  born  at  Florence  about 
the  year  1727.  He  engraved  several  plates  for  a 
volume  of  prints  from  pictures  in  the  collection  of 
the  Marquis  Gerini,  published  at  Florence  in  1759. 
He  also  engraved,  among  other  portraits,  that  of 
the  painter  Giovanni  Bettini  Gignaroli,  after  Delia 
Rosa. 

BARBALONGA,  Antonio,  a  member  of  the 
noble  family  of  the  Alberti,  is  often  confused 
%vith  Antonio  Ricci.  He  was  bom  at  Messina 
in  1600,  and  was  there  instructed  in  painting  by 
Simone  Comand^.  He  went  lo  Rome,  where  he 
became  a  disciple  of  Domenichino,  whose  style 
he  imitated  with  great  skill.  He  executed  a  great 
number  of  paintings  for  churches,  his  chief  work 
being  the  '  Conversion  of  St.  Paul,'  in  the  convent 
church  of  St.  Anna  at  Messina ;  others  are  to  be 
met  Avith  at  Rome,  Palermo,  and  Madrid.  He  died 
at  Messina  in  1649. 

BARBALONGA,  Antonio.    See  Ricci,  Antonio. 

BARBALONGA,  Juan  de.     See  Vermeijen. 

BARBARELLI,  Giorgio,  (or  Barbarella.)    See 

GlORGIONE. 

BARBARINI,  Franz,  an  Austrian  artist  of 
Italian  origin,  was  bom  at  Znaim  in  1804.  He 
excelled  as  a  painter  of  landscapes  and  as  an  en- 
graver. He  studied  at  Vienna,  under  Jos.  Kem- 
pel,  a  sculptor,  but  devoted  himself  afterwards  to 
landscape  painting,  in  oil  and  water-colour,  in 
which  branch  he  improved  himself  by  visiting 
Salzburg,  the  Tyrol,  and  Switzerland.  He  died 
at  Vienna  in  1873.  Among  his  etchings  may  be 
mentioned  : 

A  Mountainous  Region  in  Austria. 

The  Country-house. 

On  the  Road  to  Schonbrunn.    1827. 

The  Must  Waggon,  1827  ;  after  J.  A.  Klein. 

The  Saddled  Horse  ;  after  the  same. 

The  Country  of  the  Bernese  Oberland;   after  Ville- 

neuve. 
A  series  of  17  landscapes  ;  after  Rothmuller. 

BARBARJ,  Jacopo  de',  called  also  Jacob  Walch, 
and  the  '  Master  of  the  Caduceus,'  was  born  at  Ve- 
nice about  1450,  and  was  working  at  the  beginning 
of  the  16th  century.  The  history  of  this  master 
has  long  been  a  matter  of  dispute  among  critics.  It 
now  seems  satisfactorily  established  that  Barbarj 
and  Walch,  who  were  formerly  considered  as  two 
different  artists,  were  really  the  names  of  the  same 
master,  who  was  simply  called  Walch  (that  is,  a 
foreigner),  in  Germany,  because  of  his  Italian  birth. 
The  evidence  for  this  birth  rests  chiefly  on  a  state- 
ment made  by  Diirer  in  a  MS.  preface  to  his 
'  Book  of  Human  Proportions,'  preserved  in  the 
British  Museum.  He  speaks  in  this  of  "  a  man 
named  Jacobus,  born  at  Venice,  a  delightful 
painter,"  who  showed  him,  when  he  was  quite 
young,  a  figure  of  a  man  and  a  woman,  drawn  to 
scale,  which  greatly  delighted  him,  and  "  moved 
him  to  try  to  arrive  at  Uke  results."  When  Diirer 
went  to  Venice  in  1506  he  mentions  in  one  of  his 
letters  that  Jacopo  was  not  there,  and  indeed  it 
is  generally  believed  that  in  this  year  he  accom- 


panied Count  Philip  of  Burgundy  to  the  Nether- 
lands,  stopping  on  the  way  at  Nuremberg.     M. 
Emile  Gahchon,  who  was  the  first  to  throw  light 
on  the  history  of  this  master,  supposes  that  he 
first  went  to  Nuremberg  at  this  date  ;  but  an  earlier 
residence  there  of  some  length  is  more  probable, 
considering  that  Walch  is  mentioned  by  Neudorffer, 
the  historian  of  the  Nuremberg  artists,  as  belong- 
ing to  that  town.      He  says  also  that  Hans  von 
Kulmbach  was  bis  pupil.     M.  Ch.  Ephrussi,  in  his 
recent  EQonograph  on  Barbarj,  considers  that  he 
resided  in  Nuremberg  between  the  years  1494  and 
1500,  and  even  an  earlier  date  may  well  be  sur- 
mised.     But  some  time  before  1500  Barbarj  must 
have  been  back  in  Venice,  for  at  that   date   he 
executed  an  immense  plan  or  bird's-eye  view  of 
that  city,  which  was  engraved  on  wood,  and  pub- 
lished  by   Anton  Kolb,  the  head  of  the  German 
merchants  settled  in  Venice.     After  his  journey  to 
the  Netherlands  we  lose  sight  of  him,  until  his 
name  appears  in  1510  in  the  accounts  of  Margaret, 
Regent  of  the  Netherlands.      He  is  here  called 
"  Valet  de  chanibre  and  Court-painter "   to   this 
princess,  and  it  is  recorded  that  a  sum  of  seventy- 
six  livres  and  six    deniers    was  paid   to  him  in 
order  that  he  might  buy   a  velvet  doublet  and  a 
robe   lined   with   lamb's-skin.     In    1511,    also,   a 
yearly  pension  was  accorded  to  him  "  in  considera- 
tion of  his  good,  agreeable,  and  continual  service," 
he  being  then  "  weak  and  old,  and  receiving  no 
other  wage."     Before  1516  we  know  he  must  have 
died,  for  in  that  year  he  is  spoken  of  in  an  inven- 
tory of  the  Archduchess  Margaret's  effects  as  "  the 
late  Master  Jacopo."     In  1621,  when  Diirer  was 
travelling  in  the  Netherlands,  he  saw    a  sketch- 
book by  Jacopo,  wliich  he  admired  so  much  that 
he  asked  the  archduchess  to  give  it  him,  but  she 
said  she  had  already  promised  it  to  Bernhard  van 
Oriey. 

Jacopo  de'  Barbarj' s  art  forms  a  point  of  contact 
between  the  German  and  Italian  schools,  but  his 
style  is  more  that  of  a  Germanized  Italian  than  of 
an  Italianized  German.  His  subjects  are  chiefly 
chosen  from  classical  mythology,  and  a  classic 
grace  and  feeling  are  seen  in  his  treatment  of  them, 
though  in  execution  his  prints  are  often  entirely 
German. 

Very  few  paintings  can  be  with  certainty 
ascribed  to  this  master.  One  of  these,  a  still-life 
subject,  in  the  Augsburg  Gallery,  is  signed  Jac  de 
bai-barj.  P.  1504,  with  the  Caduceus  underneath  on 
a  conspicuous  folded  sheet  of  paper,  painted  in  one 
corner  of  the  picture.  There  seems,  therefore,  no 
doubt  about  the  authenticity  of  this  work,  though 
it  is  a  strange  subject  (a  pair  of  gauntlets,  and  a 
bird,  hanging  against  a  wooden  wall)  to  find 
painted  by  such  a  master.  Other  paintings 
ascribed  to  him  are  : 

1.  St.  Jerome  in  his  Cell ;  also  ascribed  to  Van  Byck  and 
Memling,  and  by  Crowe  and  Cavalcaselle  to  Antonello 
da  Messina.  Now  in  the  possession  of  Lord  North- 
brook. 

2.  A  bust  figure  of  Christ,  signed  with  the  Caduceus  and 
the  initials  I.  A.  D.  B.,  in  the  Weimar  Gallery. 

3.  Virgin  and  Saints,  formerly  in  the  Galichon  Collec- 
tion, signed  with  the  Caduceus  and  initials  I.  A.  F.  F 

4.  A  Bust  of  Christ.  \ 

5.  St.  Catharine.        VAU  in  the  Dresden  Gallery. 

6.  St.  Barbara.  ) 

But  it  is  as  an  engraver  that  Jacopo  de'  Barbarj 
IS  chiefly  known.  Bartsch  enumerates  24  copper- 
plates by  liim,  and  more  recent  critics  29.  These 
are : 

79 


A  BIOGKAPHICAL  DICTIONARY  OF 


MYTHOLOGICAL   SUBJECTS. 

1 .  Apollo  and  Diana. 

2.  Ariadne,  also  called  Cleopatra. 
S.  Mars  and  Venus. 

4.  Venus. 

5.  The  great  Sacrifice  to  Priapus. 

6.  The  little  Sacrifice  to  Priapus. 

7.  The  Guardian  Angel. 

8.  Two  Tritons  caressing  in  the  Sea. 

9.  A  Fnry  carried  off  by  a  Triton. 

10.  Pegasus. 

11.  Fauns. 

12.  Family  of  Satyrs. 

13.  A  Victory. 

14.  Victory  and  Fame,  or  Imperial  Rome. 

15.  The  Two  Doctors. 

16.  The  Two  Centaurs. 

17.  Peasant  and  Family,   called   by   Bartsch  '  Adam 

and  Eve.' 

18.  Three  men  bound  (Les  Supplieies) 

SACKED   SUBJECTS. 

19.  Adoration  of  the  Magi. 

20.  Jesus  Christ. 

21.  Sebastian  bound. 

22.  Holy  Family,  with  St.  Paul. 

23.  Another  Holy  Family  (small  square  plate). 

24.  Holy  FamOy,  in  an  enclosed  place. 

25.  Judith  and  Holofemes. 

26.  St.  Catharine. 

27.  St.  Jerome. 

28.  Hagar. 
The  supposition  that  Jacopo  de'  Bar- 

barj  was  also  a  sculptor  has  not  been 

proved.      He  signed  usually   with  the 

Caduceus.     But  it  has   been   supposed 

that  the  plates  signed  with   W.   which 

are  generally  attributed   to  Wolgemut 

are    also   by   him.      (See  article  by    Dr.    Anton 

Springer,  Zeitschrift  fur  bildende  Kunst,  October 

1876.)     Dr.  Springer  is  of  opinion  that  though  he 

signed  with  the  Caduceus  in  Italy,  he  adopted  the 

IF.  in  Germany  in  reference  to  his  cognomen  of 

Walch. 

See  article  by  Emile  Galichon,  in  '  Gazette 
des  Beaus-Arts,'  September  1873;  'Notes  Bio- 
graphiques  sur  Jacopo  de  Barbarj,'  by  Charles 
Ephrussi,  1876.  It.  M.  H. 

BAEBASAN,  Louis,  was,  according  to  Florent 
le  Comte,  a  monk  of  the  Abbey  of  Premontre, 
and  engraved  the  plan  and  perspective  view  of 
that  monastery,  from  a  design  of  F.  Bayette, 
another  ecclesiastic  of  the  same  Order. 

BARBATELLI,   Bebnabdixo,  called  Poccetti, 

also    BeEXARDIXO      '  DALLE     GbOTTESCHE,'     '  DALLE 

Facciate,'  or  '  DALLE  MusE,'  was  bom  at  Flor- 
ence in  1542  or  1548.  He  was  a  scholar  of 
Michele  di  Eidolfo  Ghirlandajo.  After  quitting 
the  school  of  Michele,  he  went  to  Rome  and 
studied  the  works  of  Raphael  and  other  great 
masters  there.  He  subsequently  returned  to  bis 
native  place,  not  only  a  pleasing  and  graceful 
figurist,  but  rich  and  learned  in  his  compositions ; 
hence  he  was  enabled  to  adorn  his  historical  sub- 
jects with  beautiful  landscapes,  with  sea  views, 
with  fruit  and  flowers,  draperies  and  tapestries, 
which  he  imitated  to  admiration.  He  was  more 
successful  in  fresco  than  in  oU  painting.  Very 
few  of  his  pictures  on  panel  or  canvas,  but  many 
of  his  frescoes,  remain  in  Florence.  He  died  at 
that  city  in  1612.  The  following  are  some  of  his 
best  works : 

Florence.  iS.^nnun-      Scenes    from    the    hfe     of    the 
ziata.  founder  of  the  Convent  of  the 

Servites. 
„        San  Marco.    Scenes  from  the  life  of  St.  An- 
thony (fresco). 

80 


Florence.  Pitti  Palace.  Life  of  Cosimo  I.  {decoration  of 
great  Saloon). 
„        Certosa.  Life  of  St.  Bruno. 

BARBATJLT,  Jean,  a  French  painter  and  en- 
giaver,  who  resided  some  time  at  Rome,  was  bom 
about  1705.  As  a  painter  he  is  little  known,  but 
he  etched  a  set  of  prints  of  '  Les  plus  beaux 
Monuments  de  Rome  ancienne,'  as  well  as  two 
other  series  of  archaeological  plates.  He  likewise 
executed  a  few  engravings,  amongst  which  are 
the  ' Martjrdom  of  St.  Peter,' after  Sublejrrsis,  and 
the  'Arrival  of  Columbus  in  America,'  after  Soli- 
mena.    He  died  in  Rome  in  1765  or  1766. 

BARBE,  Jax  Baptista,  a  Flemish  engraver,  was 
bom  at  Antwerp  in  1578.  In  1595  he  entered  the 
studio  of  Philippe  Galle,  and  in  1610  he  was  re- 
ceived as  a  master  into  the  Guild  of  St.  Luke.  He 
soon  afterwards  went  to  Italj-  to  improve  himself 
in  dra^ving,  which  may  account  for  his  being  more 
correct  in  his  design  than  many  of  his  country 
men.  On  his  return  to  Antwerp  he  engraved 
several  small  and  middle-sized  plates,  in  a  veiy 
neat  manner,  and  in  a  style  very  similar  to  that 
of  Wiericx.  He  died  at  Antwerp  in  1649.  Van 
Dyck  painted  a  portrait  of  this  artist,  which  is 
engraved  by  Bolswert. 

SUBJECTS   FROM  HIS  OWN   DESIGNS. 

The  Annunciation ;  inscribed  Spiritia  aanctut. 

The  Nativity;  vasmheA  Feperit  Jilium. 

The  Virgin  Mary  and  St.  Joseph  arriving  at  Bethlehem ; 

inscribed  £t  reclinavit  eum,  ifc. 
The  Virgin  suckling  the  Infant  Jesus   in  a  Garland 

of  Flowers ;  inscribed  Beatm  venter,  Sjc. 
Christ  on  the  Mount  of  Olives ;  In  diebut,  ^c. 
Christ  and  the  Disciples  at  Enunaus ;  £i  aperti  lunt,  ^c. 
The  Crucifixion ;  ProhtJili,Ssc. 
St.  Ignatius  Loyola  kneeling  before  an  Altar. 
Four  Emblematical  Subjects  of  the  Christian  Virtues. 

APTEE  VABIOUS  MASTKBS. 

The  Repose  in  Egypt ;  St.  Joseph  presenting  an  Apple 

to  the  Infant ;  after  G.  B.  Paggi. 
The  Holy  Family,  with  the  Infant  Jesus  embracing  St 

Joseph ;  afttr Rubens. 
Twenty-four  plates  of  the  Life  and  Miracles  of  Father 

Gabriel  Maria,  founder  of  the  Annunciades ;  with  his 

Portrait;  after  A.  van  Diepenbeeck. 
The  Virgin  seated  on  a  Throne,  holding  the  Infant,  with 

a  Bird ;  after  Frans  Franck,  the  elder. 

In  Meyer's  '  Kiinstler-Lexikon '  there  is  a  list  of 
148  of  his  engravings. 

BARBELLA,  Giovanni  Giacomo,  was  bom  at 
Cremona  in  1590,  and  died  in  1656.  He  is  highly 
extolled  by  Pasta  for  his  pictures  in  various 
churches  at  Bergamo ;  and  particularly  for  an 
altar-piece  in  San  Lazzaro,  representing  the  titular 
Saint,  remarkable  for  its  dignity  of  character  and 
decision  of  hand. 

BARBER,  Charles,  was  bom  in  Birmingham,  and 
early  in  life  settled  in  Liverp^ool.  where  he  became 
president  of  the  Institute  of  Art  in  1813.  He 
afterwards  exhibited  landscapes  with  the  Water- 
Colour  Society.  He  was  an  occasional  contributor 
to  the  Royal  Academy,  sending  there — '  A  View  of 
Dovedale,'  '  Evening  after  Rain,'  and  other  land- 
scapes with  figures.  He  died  at  Liverpool  in 
1854. 

BARBER,  Charles  Burton,  an  animal  painter, 
was  bom  at  Great  Yarmouth  in  1845.  He  studied 
at  the  Academy  Schools,  and  in  1864  obtained  a 
silver  medal  for  drawing  from  the  antique.  In 
1866,  when  only  twenty-one  years  of  age,  he 
exhibited  his  first  picture  at  the  Royal  Academy,  to 


PAINTERS  AND  ENGRAVERS. 


the  exbibitiona  of  which  till  his  death  he  was  a  fre- 
quent contributor.  His  pictures,  which  generally 
represented  children  and  dogs,  were  much  repro- 
duced and  were  very  popular.  Some  of  the  best- 
known  were, 'Once  Bitten, Twice  Shy,'  'The  Order 
of  the  Bath,'  '  In  Disgrace,' '  Sweethearts,'  'Trust,' 
and  'A  special  Pleader.'  During  twenty-five  years 
Barber  executed  a  large  number  of  pictures  for 
Queen  Victoria.  He  painted  most  of  Her  Majesty's 
favourite  dogs,  combining  many  with  a  group  of 
her  grandchildren.  His  last  picture,  painted  for 
the  Queen  in  the  year  of  his  death,  represented  her 
in  her  pony-carriage  surrounded  by  her  grand- 
children. Barber  lived  chiefly  in  London,  and 
died  there  in  1894. 

BARBER,  Christophee,  who  was  born  in  1736, 
was  a  celebrated  miniature  painter  of  his  time,  and 
was  especially  careful  in  the  preparation  of  his 
colours.  He  was  a  member  of  the  Incorporated 
Society  of  Artists,  and  an  occasional  contributor  to 
the  Royal  Academy,  where,  in  1808,  he  exhibited 
a  portrait  of  himself  in  his  seventy-first  year.  He 
died  in  Marylebone  in  1810. 

BARBER,  John  Vincent,  the  son  of  an  artist  at 
Birmingham,  made  drawings  for  '  Graphic  Illustra- 
tions of  Warwickshire,'  which  was  published  in 
1829,  and  exhibited  landscapes  at  the  Royal  Aca- 
demy from  1812  to  1830.  It  is  believed  that  he 
died  at  Rome  soon  after  the  latter  year. 

BARBER,  Thomas,  born  in  Nottingham  about 
1768,  practised  in  the  midland  counties  as  a  por- 
trait painter  for  many  years.  In  1819,  while 
residing  at  Derby,  he  exhibited  at  the  Royal  Aca- 
demy a  portrait  of  Mrs.  Siddons.  He  died  at 
Nottingham  in  1843. 

BARBER-BEAUMONT,  John  Thomas.  See 
Beaumont. 

BARBIANI,  Andrea.  This  painter  was  bom 
at  Ravenna  about  the  year  1680,  and  is  supposed 
by  Lanzi  to  have  studied  under  Cesare  Pronti. 
He  painted  history  in  the  style  of  that  master,  and 
there  are  several  of  his  works  in  the  churches  and 
public  edifices  of  Ravenna  and  Rimini,  which 
prove  him  to  have  been  an  artist  of  considerable 
ability.  Among  his  most  esteemed  productions 
is  'The  Four  Evangelists,'  in  the  cupola  of  the 
cathedral  of  Ravenna.  He  died  at  that  city  in 
1754. 

BARBIANI,  Giovanni  Battista,  was  a  native  of 
Ravenna,  and  flourished  about  the  year  1635.  It 
is  not  said  under  whom  he  studied,  but  from  his 
maimer  it  is  probable  that  he  was  a  scholar  of 
Bartolommeo  Cesi.  His  chief  works  in  oil  are 
his  '  St.  Andrea '  and  '  St.  Giuseppe,'  in  the  church 
of  the  Franciscans,  and  his  '  St.  Peter '  in  Sant' 
Agata,  at  Ravenna.  His  best  work  in  fresco  is 
the  'Assumption  of  the  Virgin,'  in  the  cupola  of 
the  chapel  of  the  Madonna  del  Sudore,  in  the 
cathedral  at  Ravenna,  which  Lanzi  says  may  be 
looked  at  with  pleasure,  even  after  seeing  the 
cupola,  by  Guido,  in  that  city. 

BARBIE,  Jacques,  (or  Baebiek,)  an  engraver, 
who  worked  in  Paris  from  1735  to  1779,  and 
executed  among  others  the  following  portraits: 

Louis  XVI.  when  Dauphin;  bust  in  profile. 

Catharine  II.  of  Eussia  ;  after  J.  C.  de  Mailly. 

Joseph  II.  of  Austria.     1777. 

Charles  III.  of  Spain. 

General  Wolfe  ;  after  Sir  Joshua  Reynolds. 

BARBIER,   Jean  Jacques  Francois   le.    See 
Lebarbier. 
BARBIER,    Nicholas    Alexandre,    a   French 

Q 


landscape  painter,  was  born  in  Paris  in  1789.  He 
at  first  executed  architectural  subjects,  but  after- 
wards joined  the  realistic  school  of  landscape 
painting,  and  exhibited  a  great  number  of  works 
at  the  Paris  Salons  from  1824  to  1861.  He  died 
at  Sceaux  in  1864. 

BARBIER-WALBONNE,  Jacques  Luc,  a  French 
historical  and  portrait  painter,  was  born  at  Nismes 
in  1769.  He  was  a  pupil  of  David,  and  painted 
several  subjects  from  Roman  history,  and  others  of 
a  less  heroic  kind  ;  also  portraits  of  the  distin- 
guished generals  of  France.  In  the  Gallery  of 
Versailles  are  portraits,  bj'  him,  of  Moreau  and 
Moncey.     He  died  at  Passy  in  1860. 

BARBIEKE,  Alessandro  del.     See  Fel 

BARBIERE,  Domenico  del.    See  Del  Babbieee. 

BARBIERI,  Francesco,  called  Da  Legnano,  was 
born  in  a  fortress  called  Legnano,  in  the  vicinity 
of  Brescia,  in  1623.  He  was  first  intended  for  the 
profession  of  arms,  but  having  evinced  a  great 
desire  of  becoming  a  painter,  he  was  placed  under 
Bernardino  Gandini.  He  did  not  long  continue 
with  that  master,  but  became  a  scholar  of  Pietro 
Ricchi,  who  had  studied  under  Guido  Reni.  He 
painted  history  and  landscapes,  both  in  oil  and 
in  fresco  ;  and  in  all  his  works  showed  a  ready 
invention,  and  a  wonderful  facility  of  execution. 
He  died  at  Verona,  according  to  Orlandi,  in  1698. 

BARBIERI,  Giovanni  Francesco,  (called  Guer- 
CINO,  squint-eyed,)  was  born  of  humble  parentage 
at  the  small  town  of  Cento,  in  the  Ferrarese  terri- 
tory, in  1591.  Such  was  the  early  indication  he 
gave  of  uncommon  genius,  that  before  he  was 
ten  years  old  he  painted  a  figure  of  the  Virgin 
on  the  fa9ade  of  llis  father's  house,  which  would 
have  been  considered  as  a  very  extraordinary  pro- 
duction, even  at  a  more  mature  age.  He  was  a 
pupil  of  Zagnoni  at  Cento,  and  of  Cremonini 
and  Gennari  at  Bologna.  But  he  was,  in  a 
great  measure,  the  disciple  of  his  own  genius  and 
of  nature.  It  is  probable  that  he  derived  some 
advantage  from  studying  the  celebrated  picture  by 
Lodoxnco  Carracci,  at  the  Capuchins  at  Cento,  ai 
which  he  always  spoke  in  terms  of  the  highest 
admiration.  The  works  of  Guercino  are  distin- 
guished by  three  different  styles,  which  he  followed 
at  different  periods  of  his  life.  In  his  early  works 
he  seems  to  have  been  seduced  into  a  violent  and 
daring  contrast  of  light  and  shadow,  from  the 
extraordinary  estimation  in  which  the  pictures  of 
Caravaggio  were  at  that  time  held  ;  and  though 
he  is  always  superior  to  that  master  in  design  and 
dignity  of  character,  his  first  productions  were 
infected  with  the  vitiated  principles,  and  something 
of  the  vulgarity,  of  that  painter.  After  having 
visited  Bologna,  Venice,  and  Ferrara,  and  having 
made  a  stay  of  some  duration  in  Rome,  he  changed 
his  manner;  and  his  second  style  is  distinguished 
by  a  grander  and  more  elevated  taste  of  desigp:i, 
more  amenity  and  sweetness  in  his  colouring,  a 
fine  expression  in  his  heads,  and  an  extraordinary 
relief,  without  the  aid  of  harsh  and  violent  con- 
trast. Such  is  his  masterpiece,  the  celebrated 
picture  of  St.  Petronilla,'  in  the  Gallery  of  the 
Capitol,  Rome:  it  was  formerly  in  a  chapel  in  St. 
Peter's,  and  is  now  represented  by  a  copy  in 
mosaic ;  such  are  also  the  '  Aurora,'  whiel;  he 
painted  in  fresco  in  the  casino  of  the  Villa 
Ludovisi,  Rome,  his  '  St.  William  of  Aquitaine 
assuming  the  garb  of  a  Monk,'  in  the  Bologna 
Gallery,  his  'Dido'  in  the  Spada  Gallery,  Rome; 
and  to  his  best  time  also  belong  his  '  Angels  weep- 

81 


A  BIOGRAPHICAL  DICTIONARY  OF 


ing  over  the  Dead  Body  of  Christ,'  in  the  National 
Gallery,  and  a  '  St.  Peter  raising  Tabitha,'  in  the 
Pitti  Palace.  On  the  death  of  his  patron,  Gregory 
XV.,  in  1623,  Guercino  left  Rome,  and  removed  to 
Cento,  where  he  spent  nearly  20  years.  In  1626 
he  undertook  his  immense  work  of  the  Duomo  at 
Piacenza,  where  he  has  carried  fresco-painting  to 
the  highest  perfection,  in  the  beauty  and  force  of 
his  colouring,  the  boldness  of  his  foreshortening, 
and  the  magic  of  his  relief.  The  cupola  is  divided 
into  eight  compartments,  in  the  upper  part  of 
which  he  has  represented  the  Prophets,  accom- 
panied by  Angels ;  and  in  the  lower,  the  Sibyls, 
and  subjects  from  the  New  Testament.  These 
admirable  performances  caused  Guercino's  powers 
to  rank  among  those  of  the  greatest  artists  of 
his  time.  In  1642,  after  the  death  of  Guido,  he 
went  to  Bologna.  Towards  the  latter  part  of  his 
life,  the  celebrity  which  that  painter  had  acquired 
by  the  beauty  and  suavitj'  of  his  style,  induced 
Guercino  once  more  to  alter  his  manner.  He  en- 
deavoured to  imitate  the  grace  and  elegance  of 
Guido' s  forms,  and  the  silvery  sweetness  of  his 
colouring ;  but  in  attempting  deUcacy,  he  fell  into 
feebleness  and  languor,  and  lost  sight  of  the  energy 
and  vigour  by  which  his  best  works  are  distin- 
guished. Of  the  pictures  painted  in  his  last  and 
weakest  manner,  are  most  of  those  in  the  churches 
at  Bologna,  the  '  Prodigal  Son,'  in  the  Turin 
Gallery,  the  '  Hagar  and  Ishmael,'  in  the  Milan 
Gallery,  and  several  paintings  in  the  Louvre, 
which  gallery  contains  no  less  than  twelve  works 
by  Guercino.  He  died  at  Bologna  in  1666.  He 
was  the  head  of  a  numerous  school  of  painters, 
amongst  whom  we  may  notice  Benedetto  Gennari 
the  younger,  and  G.  Bonatti.  In  Guercino's  best 
works  even,  we  look  in  vain  for  the  graces  of  ideal 
beauty,  or  the  purest  choice  of  selected  nature. 
His  figures  are  distinguished  neither  by  dignity  of 
form  nor  nobleness  of  air ;  and  there  is  generally 
something  to  be  wished  for  in  the  expression  of 
his  heads  ;  but  he  subdues  us  by  the  vigour  of  his 
colouring:  he  is  brilliant  in  his  lights,  tender  in 
his  demi- tints,  and  always  energetic  in  his  shadows. 
His  drawing  is  bold,  and  often  correct,  and  his 
execution  is  of  the  most  prompt  and  daring  facility. 
Of  this  we  have  a  convincing  proof  in  the  sur- 
prising number  of  important  works  he  accom- 
plished. Malvasia  gives  a  list  of  them,  by  which 
it  appears  that  he  painted  106  altar-pieces  for 
churches,  144  large  historical  pictures,  besides  his 
great  fresco  works,  and  his  numerous  Madonnas, 
portraits,  and  landscapes,  in  private  collections. 
The  following  is  a  list  of  several  of  his  best 
works : 

C  1/        \  Martyrdom  of  St.  Lawrence. 
Bologna.   Pinacoteca.     Tlie  Duke  of  Aquitaine  receiving 
the  cloak  of  St.  Felix. 
*,  „  St.  Bruno  and  his  companion  in 

the  desert. 
,1  „  Apollo  and  Marsjas. 

Brussels.  Jluseum.  A  young  man  placed  under  the 
protection  of  the  Virgin  by  his 
patron  Saints,  Nicholas,  Francis, 
and  Joseph. 
Dresden.  Gallery.  Venus  finding  the  body  of  Adonis. 
1647. 
„  „  Cephalus  and  the  body  of  Procris. 

1M4. 
„  „  Diana. 

„  „  Semiramis. 

„  ,,  S^t.  Francis. 

„  „  The  Four  Evangelists. 

82 


Dulwich.     College.        The  'Woman  taken  in  Adultery. 
Florence.     Pitti  Pal.    St.  Sebastian. 

„  „  Madonna  della  Rondinella. 

Uffizi.  St.  Peter. 

„  „  His  own  Portrait. 

„  „  The  Samian  Sibyl. 

„  ,,  Endymion  Asleep. 

Genoa.      Pal.  Brignoli.  Cleopatra. 

„  „  Death  of  Cato. 

London.      N'at.  Gall.    Angels    weeping  over    the    dead 

body  of  Christ. 
Madrid.       Museum.       Susannah  at  the  Bath. 

„  „  Diana. 

Milan.  Brera.  Abraham  dismissing  Hagar. 

Xaples.        Museum.      Magdalene. 
Paris.  Louvre.         Lot  and  his  Daughters. 

,,  ,,  Virgin  and  Child. 

„  „  The  Resurrection  of  Lazarus. 

„  „  Salome  with  the  Head  of  John  the 

Baptist. 
„  „  The  Patron  Saints  of  Modena. 

„  „  Circe. 

„  „  His  own  Portrait. 

n  „  St.  CecUia. 

Petersburg.  Hermitage.  St.    Anne,   the  Virgin,   and    the 
Infant  Christ. 
,,  „  Assumption  of  the  Virgin. 

„  „  Martyrdom  of  St.  Catharine. 

,*  „  St.  Jerome. 

„  „  Samson  and  the  Honey. 

Kome.  Boryhese.    Return  of  the  Prodigal  Son. 

„         Capitol  Mus.    St.    Petronilla    raised    from   the 

tomb. 
„  Corsini  Pal.     Ecce  Homo. 

„  „  Christ  at  the  'WeU. 

,,  ^.  Ludovisi.     AuroradrivingawayNightfyVMco). 

„  „  Fame    with    Force    and    Virtue 

(fresco). 
„  Vatican.     St.  John  the  Baptist. 

„  „  The  Magdalen. 

„  „  St.  Margaret  of  Cortona. 

Vienna.         Gallery.     Return  of  the  Prodigal  Son. 

This  laborious  artist  left  an  incredible  number  of 
admirable  drawings,  which  are  highly  esteemed ; 
many  of  them  were  engraved  by  Bartolozzi.  We 
have  a  few  etchings  bj'  Guercino,  executed  with 
great  freedom  and  spirit ;  they  are  as  follow : 

St.  Anthony  of  Padua ;  half-length ;  Joan  Fr.  Cent 

St.  John  ;  the  same  mark. 

St.  Peter ;  Joan  F.  Barbieri,/. 

St.  Jerome,  with  a  Crucifix  ;  the  same  mark. 

Bust  of  a  Man  with  a  cap  and  a  beard. 

Bust  o:  a  Woman. 

Bust  o  ■'  a  Man,  in  an  Oriental  costume. 

A  life  of  Guercino,  by  J.  A.  Calvi,  was  pub- 
lished at  Bologna  in  1808. 

BARBIERI,  LucA.  According  to  Malvasia,  this 
paiuter  was  a  native  of  Bologna,  and  a  scholar  of 
Alessandro  Tiarini.  He  painted  architectural  views 
and  landscapes,  and,  in  conjunction  with  Francesco 
Carbone  (who  painted  the  figures),  executed  some 
extensive  works  for  the  palaces  and  public  edifices 
at  Bologna.  He  flourished  at  the  end  of  the  16th 
and  the  beginning  of  the  17th  century.  He  is  not 
to  be  confused  with  LoDovico  Baebiebi,  a  painter 
of  Bologna  of  the  same  period. 

BARBIERI,  Paolo  Antonio.  This  painter  was 
the  brother  of  Giovanni  Francesco  Barbieri,  called 
Guercino.  He  was  born  at  Cento,  a  village  near 
Bologna,  in  1603.  The  subjects  of  his  pictures 
are  flowers,  fruit,  and  game,  but  he  particularly 
excelled  in  painting  fish,  which  he  represented 
with  astonishing  fidelity.     He  died  in  1649. 

BARBOR,  Lucius,  a  miniature  painter,  worked 
chiefly  in  enamel,  and  exhibited  at  the  exhibitions 
in  Spring  Gardens,  London.     He  died  in  1767. 

BARBUDO,  El.     See  Vebmeijen. 

BARCA,  Cavaliere  Giambattista,  (or  Babchi,) 


GIOVANNI  FRANCESCO  BARBIERI 

CALLED 

GUERCINO 


Alinari  phot6\ 


THE  ANNUNCIATION 


\_Forli  Gallery 


PAINTERS  AND  ENGRAVERS. 


was  a  native  of  Mantua,  but  became  a  citizen  of 
Verona.  He  flourished  about  1650.  He  is  men- 
tioned by  Lanzi  and  Zani  as  an  artist  of  great 
ability.  It  is  uncertain  whether  he  was  instructed 
by  D.  Feti,  for  his  style  was  varied,  but  abounding 
with  pictorial  grace  and  beauty. 

BARCA,  Vicente  CALDERON  de  la.  See 
Caldebon. 

BARCLAY,  HnoH,  born  in  London  in  1797, 
practised  as  a  miniature  painter,  and  was  likewise 
celebrated  for  his  copies  of  tlie  Italian  Masters  in 
the  Louvre.     He  died  in  1859. 

BAKCO,  Del.     See  Del  Barco. 

BARDIN,  Jean,  a  French  historical  painter, 
born  at  Monthar  in  1732,  was  a  pupil  of  Lagr^nee. 
the  elder ;  and  afterwards  studied  at  Rome.  He 
became  a  popular  artist  in  France,  and  was  ad- 
nutted  into  the  Academy  in  1779.  He  was  made 
director  of  the  art  scliool  at  Orleans  in  1788.  His 
subjects  are  partly  historical,  partly  poetical,  and 
sometimes  religious.  He  was  the  instructor,  in 
the  elements  of  art,  of  David  and  Regnault.  He 
died  at  Orleans  in  1809. 

BARDON,  Michel  FBAvgcis  d'ANDRE.  See 
Andbi!:-Bardon. 

BARDUCCI,  V.  The  name  of  this  engraver  is 
affixed  to  a  portrait  of  Pascal  Paoli,  the  Corsican 
General.     It  is  dated  1768. 

BARDWELL,  Thomas,  was  an  English  por- 
trait painter,  who  died  about  the  year  1780.  He 
painted  some  portraits  of  the  principal  characters 
of  his  time,  and  published,  in  1756,  '  The  Practice 
of  Painting  and  Perspective  made  easy.' 

BAREN,  Jan  Anton  van  der.  See  Van  der 
Baren. 

BAREND  van  BRUSSEL.     See  Orlet. 

BARENGER,  James,  a  nephew  of  William 
Woollett,  the  celebrated  engraver,  was  born  in 
1780;  and  was  well  known  as  a  painter  of  race- 
horses, deer,  dogs,  and  other  animals.  It  is  be- 
lieved that  he  died  soon  after  1831,  the  last  year 
of  his  exhibiting  at  the  Royal  Academy. 

BARENTSEN,  Dirk,  was  born  at  Amsterdam, 
in  1534.  He  was  the  son  of  an  artist  of  little 
celebrity  (perhaps  Barent  de  Dowe,  called  II 
Sordo),  who  taught  him  the  rudiments  of  drawing. 
When  twenty-one  years  of  age  he  went  to  Italy 
and  visited  Venice,  where  he  had  the  good  fortune 
to  be  admitted  into  the  school  of  Titian, who  con- 
ceived for  him  a  particular  regard,  and  bestowed 
on  him  many  marks  of  friendship.  After  passing 
seven  years  under  that  great  master,  he  returned 
to  Holland,  and  met  with  great  success  as  a  por- 
trait painter.  The  style  he  had  acquired  by  a 
minute  study  of  the  works  of  Titian  was  peculiarly 
favourable  to  him  in  his  portraits  ;  and  in  that 
branch  of  art  he  was  reputed  the  ablest  artist  of 
his  country  at  the  time  in  which  he  lived.  One  of 
his  principal  historical  works  was  an  altar-piece, 
representing  the  '  Fall  of  Lucifer,'  which  he  painted 
for  the  great  church  at  Amsterdam.  This  picture 
was  destroyed  during  the  religious  troubles  of  his 
country.  He  died  at  Amsterdam  in  1592.  A  por- 
trait of  the  Duke  of  Alva  by  him  is  in  the  Gallery 
of  that  city. 

BARENTZEN,  Emilids  Ditlev,  was  born  at 
Copenhagen  in  1799.  He  first  studied  jurisprud- 
ence, and  then  spent  five  years  in  the  West  Indies. 
In  1821  he  entered  the  Academy  at  Copenhagen, 
and  studied  under  Eckersberg.  In  1831  and  1832 
he  visited  Paris  and  Munich;  but  settling  in  his 
native  city,  he  soon  rose  to  great  reputation  as  a 

G  2 


portrait  painter,  and  there  executed  no  less  than 
two  thousand  works.     He  died  in  1868. 

BARGAS,  a.  F.,  a  Flemish  draughtsman  and 
engraver,  who  lived  at  the  beginning  of  the  18th 
century.  He  etched  a  set  of  six  landscapes,  from 
his  own  designs,  and  a  set  of  four  landscapes, 
after  Pieter  Bout,  which  are  sometimes  with  . 

the  name  of  Bargas,  and  sometimes  with-      aV. 
out  it.  -^  ■*- 

BARGONE,  Giacomo,  was  a  native  of  Genoa, 
and  studied  under  Andrea  and  Ottavio  Semini. 
He  became  one  of  the  most  promising  artists  of 
his  country.  His  drawing  was  remarkably  correct, 
liis  execution  free  and  prompt,  and  the  contour  of 
his  figures  extremely  graceful.  The  possession 
of  such  talents  excited  the  jealousy  of  a  contem- 
porary artist,  Lazzaro  Calvi,  who,  as  Soprani 
relates,  after  inviting  him  to  a  repast,  mixed  a 
stupefying  drug  in  a  goblet  of  wine,  from  the 
effects  of  which  the  unfortunate  victim  perished 
in  the  prime  of  life.  He  flourished  in  the  16th 
century. 

BARKER,  Benjamin,  a  brother  of  'Barker  of 
Bath,'  was  born  in  1776,  and  became  a  landscape 
painter  of  some  note.  He  exhibited  both  at  the 
Royal  Academy  and  at  the  Water-Colour  Society, 
from  1800  to  1821,  snd  occasionally  at  the  British 
Institution.     He  died  at  Totnes  in  1838. 

BARKER,  Charles,  was  a  native  of  Birming- 
ham, who  during  forty  years,  at  the  early  part  of 
the  19th  century,  resided  at  Liverpool,  where  he 
ranked  high  as  a  teacher  of  art.  He  was  elected 
president  of  the  Liverpool  Academy,  to  which  he 
was  a  regular  contributor.  He  occasionally  also 
exhibited  at  the  Royal  Academy  in  London ;  his 
last  works  exhibited  there  were,  in  1849,  '  Evening 
after  Rain,'  '  A  Luggage  Train  preparing  to  Shunt,' 
and  '  The  Dawn  of  Day,  a  Foraging-Party  Return- 
ing.'    He  died  in  1854. 

BARKER,  Henry  Aston,  who  was  born  at  Glas- 
gow in  1774,  assisted  his  father,  Robert  Barker, 
in  his  panoramas,  and  in  time  became  known  for 
those  which  he  executed  by  himself.  He  worked 
at  Constantinople,  Paris,  Palermo,  Copenhagen, 
Malta,  and  Venice.  He  died  at  Bilton,  near  Bristol, 
in  1856,  having  retired  from  his  profession  as  early 
as  1826.  The '  Coronation  Procession  of  George  IV.' 
was  his  last  work. 

BARKER,  Robert,  inventor  and  painter  of 
Panoramic  Views,  was  born  at  Kells,  county 
Meath,  in  1739.  The  first  panorama  he  painted 
was  a  '  View  of  Edinburgh,'  exhibited  by  him  in 
that  city  in  1788,  and  in  London  in  1789.  This 
picturesque  mode  of  exhibiting  on  a  large  scale 
soon  became  popular ;  and  Views  of  London, 
Dublin,  Athens,  Lisbon,  and  other  places,  quickly 
followed,  until  Barker's  Panoramas  became  cele- 
brated among  the  fashionable  exhibitions  of  the 
day.  He  died  at  Lambeth  in  1806,  leaving  two 
sons,  who  carried  on  similar  exhibitions  for  many 
years  in  the  house  built  in  1793  by  their  father  in 
Leicester  Square. 

BARKER,  Samuel,  was  a  cousin  of  John 
Vanderbank,  by  whom  he  was  instructed  in  por- 
trait painting ;  but  having  a  talent  for  painting 
fruit  and  flowers,  he  imitated  Jean  Baptiste,  and 
would  probably  have  excelled  in  that  branch  of 
art,  had  he  not  died  young,  in  1727. 

BARKER,  Thomas,  (called  '  Barker  of  Bath,')  a 
painter  of  landscape  and  rural  life,  was  born  in  the 
year  1769,  near  the  village  of  Pontypool,  in  Mon- 
mouthshire.    His  father,   the  son  of  a  barrister, 

83 


A  BIOGRAPHICAL  DICTIONARY  OF 


having  run  through  a  considerable  property,  com- 
menced practice  as  an  artist,  but  never  attempted 
more  than  the  portraits  of  horses.  Young  Barke' 
early  showed  a  remarkable  genius  for  drawing 
figures  and  designing  landscapes ;  and  on  the  re- 
moval of  his  family  to  Bath,  the  liberal  encourage- 
ment of  Mr.  Spackman,  an  opulent  coach-buildei 
of  that  city,  afforded  him  the  means  of  following 
up  the  bent  of  his  inclination.  During  the  first 
four  years  he  employed  himself  in  copying  the 
works  of  the  old  Dutch  and  Flemish  masters,  which 
he  imitated  very  successfully.  At  the  age  of 
twenty-one  he  was  sent  to  Rome,  with  ample  funds 
to  maintain  his  position  there  as  a  gentleman. 
While  in  that  city  he  painted  but  little,  contenting 
himself  with  storing  his  mind  with  such  knowledge 
as  might  be  applied  usefully  hereafter.  In  drawing 
or  painting  he  never  took  a  lesson  ;  he  was  entirely 
self-taught.  Barker  was  an  occasional  exhibitor  at 
the  Royal  Academy  and  the  British  Institution  for 
nearly  half  a  century,  during  which  period  he  sent 
nearly  one  hundred  pictures.  His  numerous  pro- 
ductions embraced  almost  the  entire  range  of  pic- 
torial subjects,  and  have  the  marks  of  true  genius 
stamped  upon  them.  Few  pictures  of  the  English 
school  are  more  generally  known  and  appreciated 
than  'The  Woodman,'  of  which  it  appears  two 
were  painted,  both  of  them  from  nature,  and  of 
life  size  :  the  first  was  sold  to  Mr.  Macklin  for  500 
guineas  ;  the  second,  which  realized  the  same  sum, 
became  the  property  of  Lord  W.  Paulett.  In  1821 
he  painted  the  'Trial  of  Queen  Caroline,'  in  which 
he  introduced  portraits  of  many  celebrated  men  ; 
but  perhaps  the  noblest  efEort  of  Barker's  pencil 
was  the  magnificent  fresco,  30  feet  in  length,  and 
12  feet  in  height,  representing  'The  Inroad  of 
the  Turks  upon  Scio,  in  April,  1822,'  painted  on 
the  wall  of  his  residence,  Sion  Hill,  Bath,  and 
possessing  merits  of  the  highest  order,  in  compo- 
sition, colour,  and  effect.  While  Barker's  talents 
were  in  full  vigour,  no  artist  of  his  time  had  a 
greater  hold  on  popular  favour ;  his  pictures  of 
'  The  Woodman,'  '  Old  Tom  '  (painted  before  he 
was  seventeen  years  of  age),  and  gipsy  groups 
and  rustic  figures,  were  copied  upon  almost  every 
available  material  which  would  admit  of  decor- 
ation :  Staffordshire  pottery,  Worcester  china, 
Manchester  cottons,  and  Glasgow  linens.  At  one 
time  he  amassed  considerable  property  by  the 
sale  of  his  works,  and  expended  a  large  sum  in 
erecting  a  mansion  for  his  residence,  enriching  it 
with  sculpture  and  other  choice  productions  of 
art.  He  died  at  Bath  in  1847.  There  are  two 
pictures  by  Barker  in  the  National  Gallery  :  '  A 
Woodman  and  his  Dog  in  a  Storm,'  and  a  Land- 
scape, perhaps  on  the  Somerset  Downs. 

BARKER,  Thomas  Jones,  a  popular  painter  of 
battle-pieces  and  military  subjects,  was  the  son  of 
"  Barker  of  Bath,"  from  whom  he  received  his  first 
teaching,  and  was  born  in  1815.  At  the  age  of 
nineteen  he  went  to  Paris,  and  entered  the  studio 
of  Horace  Vernet,  on  many  of  whose  pictures  he 
collaborated.  His  first  pictures  were  exhibited  in 
Paris,  among  them  a  '  Death  of  the  Grand  Mon- 
arque  '  for  Louis  Philippe.  Among  his  later  works 
were  'Meeting  of  Wellington  and  Blucher  after 
Waterloo,'  'Nelson's  Prayer  in  the  cabin  of  the 
Victory,'  '  The  Secret  of  England's  Greatness,'  and 
'The  Riderless  Horse,  after  Sedan.'  Barker  died 
March  29,  1882. 

BARLOW,   Francis,   an   English   painter    and 
engraver,  born  in  Lincolnshire  in  1626,  was  the 
84 


pupil  of  William  Shephard,  a  portrait  painter. 
He  excelled  in  representing  animals,  birds,  fish, 
&c.,  which  he  drew  with  great  accuracy;  and 
if  his  colour  and  touch  had  been  equal  to  his 
drawing,  he  would  have  ranked  amongst  the  most 
eminent  painters  of  those  subjects.  The  land- 
scapes he  introduced  into  his  pictures  are  very 
pleasing.  Hollar  engraved  in  1671  a  set  of  thir- 
teen plates,  after  his  own  designs,  entitled  '  Several 
ways  of  Hunting,  Hawking,  and  Fishing,  in- 
vented by  Francis  Barlow.'  Some  of  the  plates 
for  Edward  Benlowe's  divine  poems,  called  'Theo- 
phila,'  published  in  1652,  were  engraved  by  Bar- 
low. He  published  a  translation  of  '  .^sop's 
Fables,'  in  1665,  with  110  plates,  etched  from 
his  own  designs.  He  also  painted  ceilings,  and 
designed  monuments  for  Westminster  Abbey. 
He  frequently  signed  his  plates  F.  B.,  sometimes 
enclosed  in  a  circle.     He  died  in  1702. 

BARLOW,  J.,  practised  as  an  engraver  in 
London  at  the  end  of  the  18th  century.  He  en- 
graved some  of  the  illustrations  to  Ireland's 
'  Hogarth,'  published  in  1791,  and  for  '  Rees's 
Cyclopaedia.' 

BARLOW,  Thomas  Oldham,  a  mezzotint  en- 
graver, was  bom  at  Oldham  in  1824.  He  was 
articled  to  a  firm  of  engravers  at  Manchester,  and 
studied  in  the  school  of  design  in  that  city.  His 
first  engraving  after  his  arrival  in  London  in  1847 
was  from  the  work  of  John  Philip,  the  most  im- 
portant of  whose  pictures  he  engraved.  In  1856 
he  engraved  Millais'  '  Huguenots,'  and  in  1865  his 
'My  first  Sermon.'  He  subsequently  produced 
plates  after  the  portraits  of  public  characters 
which  were  painted  by  Millais  for  Messrs.  Agnew. 
In  1873  Barlow  was  elected  an  associate  engraver 
of  the  Royal  Academy,  in  1876  a  full  associate, 
and  in  1881  an  academician.  He  died  at  Kensington 
in  1889.  ,  .     , 

BARNA  (or  Berna),  of  Siena,  flounshed  in  the 
latter  half  of  the  14th  century.  He  painted  at 
Siena,  Cortona,  Arezzo,  and  at  San  Gimignano, 
where  a  much  damaged  series  of  frescoes  still 
exists.  These  frescoes,  which  are  almost  all  that 
remain  to  testify  to  Barna's  art,  represent  the 
'Passion  of  our  Lord,'  and  are  executed  somewhat 
after  the  manner  of  Simone  Martini.  Vasari  tells 
us  that  Barna  died  in  1381,  from  injuries  received 
by  a  fall  from  a  scaffold,  while  painting  in  the 
church  of  San  Gimignano. 
BARNABA  da  MODENA.  See  Modena. 
BARNABEI,  Tommaso,  known  as  Maso  Papa- 
cello,  was  a  pupil  of  Luca  Signorelli,  and  aided 
Giulio  Romano  at  Rome.  At  about  1523-4  he 
assisted  Giambattista  Carporali  at  the  villa  of 
Cardinal  Passerini,  near  Cortona.  He  painted 
three  pictures,  representing  the  '  Annunciation,'  the 
'Conception,'  and  the  'Adoration  of  the  Magi,'  in 
the  church  of  Santa  Maria  del  Calcinaio,  near 
Cortina,  and  finally  settled  at  Perugia,  where  he 
died  in  1559.  ^      ^      . 

BARNARD,  Frederick,  was  born  m  London  in 
1846.  He  studied  first  at  Heatherley's  Art  School 
in  Newman  Street  and  afterwards  under  Bonnat 
in  Paris.  His  earliest  publication  was  a  set  of 
charcoal  drawings,  entitled  'The  People  of  Paris.' 
His  first  contribution  to  '  Punch '  appeared  in  1863. 
Barnard's  best-known  work  was  the  illustration 
of  the  household  edition  of  the  works  of  Charles 
Dickens  (1871-9).  Many  of  his  drawings  appeared 
in  '  Good  Words,'  '  Once  a  Week,'  and  '  The  Illus- 
trated London  News.'     He  illustrated  an  edition 


FEDERIGO  BAROCCIO 


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THE  APPEARANCE  OF  CHRIST  TO  MARY  MAGDALENE 


I 

4 


PAINTERS  AND  ENGRAVERS. 


of  Bunyan's  'Pilgrim's  Progress'  in  1880,  and  about 
the  same  time  produced  his  '  Character  Sketches 
from  Dickens.'  Barnard  also  painted  a  few  pictures 
in  oil  which  were  exliibited  at  the  Royal  Academy. 
He  was  suffocated  in  a  fire  at  a  friend's  house  at 
Wimbledon  in  1896. 

BARNARD,  William,  who  was  born  in  1774, 
was  a  mezzotint  engraver.  Among  his  most  suc- 
ces.sful  plates  were  '  Simimer '  and  '  Winter,'  both 
after  Morland,  and  a  portrait  of  Nelson.  He  died 
in  1849,  having  held  for  some  years  the  post  of 
Keeper  of  the  British  Institution. 

BARNEY,  .TosEPH.  There  are  engravings 
executed  in  stipple  by  this  artist,  after  the  paint- 
ings of  Bassano,  W.  Hamilton,  and  others,  which 
were  published  at  the  end  of  the  18th  century. 

BARNEY,  Joseph,  a  fruit  and  flower  painter, 
was  born  at  Wolverhampton  in  1751.  He  came 
to  London  in  early  life,  and  studied  under  Zuechi 
and  Angelica  Kauffmann,  and  in  1774  received  a 
premium  from  the  Society  of  Arts.  He  exhibited 
historical  or  poetical  subjects,  or  flower  pieces,  at 
the  Royal  Academy  from  1786  until  1827,  and,  in 
1815,  received  an  appointment  as  flower  painter 
to  the  Prince  Regent.  Barney  left  two  sons 
who  followed  in  his  footsteps — Joseph  Barney,  a 
flower  painter,  who  lived  chiefly  at  Southampton, 
and  exhibited  occasionally  at  the  Water-Colour 
Society  (1815  — 1818)  ;  and  William  Whiston 
Barney. 

BARNEY,  William  Whiston,  a  mezzotint  en- 
graver, was  a  pupil  of  Samuel  William  Reynolds. 
He  is  best  known  by  his  portraits  of  Sir  Arthur 
Wellesley,  after  Hoppner,  and  the  Marquis  of 
Blandford,  after  Cosway,  and  by  various  repro- 
ductions of  Reinagle's  sporting  subjects.  About 
1805  he  bought  a  commission  in  the  army,  and 
served  with  credit  during  the  Peninsular  war. 

BARNUEVO,  Sebastiano  de  HERRERA.  See 
Herrera  Barnhevo. 

BAROCCI,  Ambrogio,  the  father  of  Federigo, 
was  a  sculptor  of  some  note  in  the  15th  century. 
His  portrait,  painted  by  himself,  is  in  the  Uffizi  at 
Florence. 

BAROCCI,  Federigo,  (orBAROccio) — sometimes 
called  FlOEE — was  born  at  Urbino  in  1528.  He 
was  the  son  (?)  of  Ambrogio  Barocci,  a  sculptor  of 
some  eminence,  and  was  placed  —  after  he  had 
received  instruction  in  design  from  his  father- — 
under  Battista  Franco,  with  whom  he  studied  until 
that  painter  left  Urbino.  Barocci  then  went  with 
his  uncle,  Bartolommeo  Genga,  the  architect,  to 
Pesaro,  where  he  copied  some  works  by  Titian.  In 
1548  he  went  to  Rome,  and  studied  the  works  of 
Raphael.  He  was  favoured  with  the  protection  of 
the  Cardinal  della  Rovere,  who  received  him  into 
his  palace,  where  he  painted  some  pictures  in  fresco, 
and  the  portrait  of  his  patron.  After  passing 
four  years  at  Rome,  he  returned  to  his  native 
city,  where  his  first  work  was  a  picture  of  '  St. 
Margaret,'  executed  for  the  Confraternity  of  the 
Holy  Sacrament.  This  work  gained  him  great 
celebrity ;  and  he  was  invited  by  Pope  Pius  IV.  to 
assist  in  the  decoration  of  the  Belvedere  Palace 
at  Rome,  where  he  painted  the  '  Virgin  Mary  and 
Infant  Saviour,  with  several  Saints,'  and  a  ceiling 
in  fresco,  representing  the  '  Annunciation.'  While 
working  in  the  Vatican  he  was  nearly  killed  by 
poison,  and  though  he  did  not  actually  lose  his  life, 
he  was  unable  to  work  for  four  years,  and  even 
after  that  time  he  could  paint  no  longer  than  about 
two  hours  each  day.     Having  finished  these  and 


other  works,  he  returned  to  Urbino,  where  he 
painted  a  fine  picture  for  the  cathedral  of  San 
Lorenzo,  at  Perugia,  of  the  '  Descent  from  the 
Cross.'  He  again  visited  Rome  during  the  pon- 
tificate of  Gregory  XIII.,  when  he  painted  two 
admirable  pictures  for  the  Chiesa  Nuova,  represent- 
ing the  '  Visitation  of  the  Virgin  Mary  to  Elisabeth,' 
and  the  '  Presentation  in  the  Temple,'  which  are 
considered  his  best  productions,  and  for  the  Chiesa 
della  Minerva,  a  fine  picture  of  the  '  Last  Supper.' 
Barocci  spent  nearly  all  the  remaining  years  of  his 
life  at  his  native  Urbino,  where  he  died  in  1612, 
aged  84  years.  He  was  buried  in  the  church  of  San 
Francesco,  with  much  honour.  In  the  works  of 
Barocci  we  admire  an  elegant  taste,  and  there  is 
great  amenity  and  harmony  in  his  colouring.  He 
seems  to  have  adopted  the  manner  of  Correggio  as 
the  model  for  his  imitation  ;  and  although  he  has 
succeeded  in  giving  a  graceful  air  to  his  figures,  his 
style  must  be  allowed  to  partake  of  something 
approaching  to  affectation,  and  can  never  be  put  in 
competition  with  the  beautiful  and  touching  sim- 
plicity of  that  inimitable  painter.  He  was  a  better 
draughtsman  than  many  of  his  contemporaries,  but 
his  colouring  was  not  good.  Mengs  remarks  that 
his  pictures  lacked  yellow  tints  ;  and  Bellori  says 
that  he  used  too  much  vermilion  and  ultramarine. 
Among  his  pictures  in  public  galleries  are : 
Dresden.  Gallery,  Hagar  in  the  Desert. 

„  „  Madonna  and  two  Saints. 

Florence.  Ujfizi.  Virgin  pleading  for  the  poor. 

„  „  NoU  me  tangere. 

„  „  Portrait  of  the  Duke  of  Urbino. 

London.  Nat.  Gallery.  Holy  Family,  del  Gatto. 
Milan.      Brera.  Martyrdom   of  St.  Vitale   {dated 

-     1583). 
Munich.  Pinakothek.     Saviour   appearing   to    the  Mag- 
dalene (dated  1590). 
Paris.       Louvre.  The  Circumcision  (signed  and  dated 

1580). 

„  „  Madonna  in  glory,  with  Saints. 

Petersburg.  Hermitage.  Holy  Family. 

„  „  Portrait  of  a  Man. 

And  four  others. 
Rome.     Boryhese  Pal.  Burning  of  Troy. 

„  Vatican.  The  Annunciation. 

„  „  The  Ecstasy  of  St.  Michalina. 

„  ,,  Madonna. 

Windsor.    Castle.  Nativity. 

We  are  indebted  to  Barocci  for  some  engravings, 
which,  although  not  very  commendable  for  the 
delicacy  of  their  execution,  possess  the  higher 
qualifications  of  correctness  of  design  and  beauty 
of  expression.  He  has  left  us  the  following 
plates: 

The  Virgin  and  our  Saviour  appearing  to  St.  Francis ; 
a  large  plate,  arched.     His  principal  plate. 

The  Virgin  holding  the  Infant  Saviour;  a  small  plate, 
of  which  the  lower  part  is  left  unfinished. 

The  Virgin  in  the  Clouds,  with  the  Infant  Jesus; 
marked  F.  B.  V.  F. 

The  Annunciation ;  on  the  left  of  the  print  a  Cat  sleep- 
ing ;  fine. 

St.  Francis  receiving  the  Stigmata. 

BARON,  Bernard,  an  eminent  French  engraver,, 
was  born  in  Paris  about  the  year  1700.  He  was 
instructed  in  engraving  by  Nicolas-Henri  Tardieu, 
whose  style  he  followed.  He  engraved  several 
plates  for  the  Crozat  Collection,  and  afterwards 
came  to  England,  where  he  resided  the  remainder 
of  his  life,  and  died  in  London  in  1766.  Many 
of  his  engravings  are  in  the  Boydell  Collection: 
they  are  executed  in  a  coarse  manner,  but  are  not 
without  considerable  merit.  The  following  are  his 
principal  works  : 

85 


A  BIOGRAPHICAL  DICTIONARY  OF 


PORTRAITS. 
King  Charles  I.  on  Horseback,  with  the  Duke  d'Eper- 

non ;  after  Van  Dyck. 
Charles  I.  and  Queen,  with  their  two  Sons ;  after  the 

sarM, 
The  Nassau  Family ;  from  Earl  Cowper*s  picture :  after 

the  same. 
The  Pembroke  Family;  from  the  picture  at  'Wilton; 

after  the  same, 
Henry    THI.  granting  the   Charter   to   the   Barber- 
Surgeons'  Company ;  after  Holbein. 
The  Family  of  Tan  Dyck;  after  Van  Dyck;  in  the  Earl 

of  Pembroke's  picture. 
Robert,  Earl  of  Camarron ;  after  Van  3yek  ;  in  the  same 

collection. 
Anna  Sophia,  Countess  of  Camavon;  after  the  same; 

in  the  same  collection. 
(Jeorge,  Prince  of  Wales,  on  Horseback  ;  after  Adolph. 
Comelis  van  Tromp,  Yice-Admiral  of  Holland;  after 

J.  Vanderbank. 
Dr.  Mead ;  after  A.  JRamsaij. 
The  Lord  Chancellor  Hardwick ;  after  the  same. 
The  Lord  Chief  Justice  Eeve ;  after  J.  Amiconi. 
The  Comaro  Family;  after  Titian;  the  picture  is  in 

the  possession  of  the  Duke  of  Northumberland. 
Benjamin  Hoadly,  Bishop  of  'Winchester;  after  Hogarth. 

SUBJECTS   AFTER    VARIOUS   MASTERS. 

Nine  plates  of  the  Life  of  Achilles,  with  the  titles ;  after 
Rubens. 

Belisarius ;  incorrectly  called  after  Van  Dyck. 

Charles  I.  escaping  from  Hajnpton  Court;  after  J. 
d'Angelis. 

Jupiter  and  Antiope ;  after  Titian  ;  for  the  Crozat  Col- 
lection.   This  is  considered  his  chef-d^ceuvre. 

Pan  and  Syrinx;  after  Xic.  Bertin. 

The  Card-players;  after  D.  Tenters. 

The  Temptation  of  St.  Anthony ;  after  the  same. 

The  Italian  Comedians;  after  ffatteau. 

The  Companion  ;  after  the  same. 

The  Two  Cousins ;  after  the  same. 

Soldiers  plxmdering  a  Village ;  after  the  same. 

The  Peasants  revenged ;  after  the  same. 

St.  Cecilia ;  after  Carlo  Dolci. 

Moses  exposed  on  the  Nile ;  after  Le  Sueur. 

Marriage-a-la-mode ;  after  Hogarth  (two  of  the  plates). 

BARON,  Jean,  (or  Baronius,)  a  French  en- 
graver, who  is  sometimes  called  '  Tolosano,'  from 
his  birthplace,  was  born  at  Toulouse  in  1631. 
He  resided  the  greater  part  of  his  life  at  Rome, 
where  he  worked  in  union  with  C.  Bloemaert, 
and  engraved  several  plates  of  historical  subjects 
and  portraits.  They  are  executed  entirely  with 
the  graver  in  a  neat  but  dry  manner,  and  are 
not  very  well  drawn.  The  following  are  his  best 
works  : 

pobtraits. 

Jean  Plantavit,  Sieur  de  la  Paose,  Bishop  of  Lodeve. 

Cardinal  Aquaviva. 

Ijeonardo  AJberti,  architect. 

'Vito  de  Bramante,  architect. 

Giovanni  Francesco  Rustici,  sculptor. 

Marc  Antonio  Raimondi,  engraver. 

Raphael  d'Urbino. 

Leonardo  da  Vinci. 

SUBJECTS    AFTER   VARIOUS   MASTERS. 
Judith  with  the  head  of  Holofemes ;  after  Domenichino. 
The  Stoning  of  St.  Stephen ;  after  Niccoli  delf  Abbate. 
The  Martyrdom  of  St.  Andrew  ;  after  the  same. 
St.  Peter  and  St.  Paul  in  the  Clouds ;  after  Ann.  Car- 

raeei. 
The  Virgin  in  Adoration ;  after  Guido  Reni. 
The  Virgin  ;  a  small  plate ;  after  Bernini. 
St,  Romualdus,  and  Monks ;  after  Andrea  Sacehi. 
The  Plagne  at  Ashdod ;  after  X.  Foussin. 

BARONI.  Giuseppe,  was  an  Italian  engraver, 
who  resided  at  Venice  about  the  year  1720.  He  en- 
graved some  large  plates  from  the  paintings  of  the 

86 


Venetian  masters ;  among  which  is  a  print  repre- 
senting the  '  Crucifixion,  with  Angels  in  the  air,  and 
St.  John  and  St.  Mary  Magdalene  at  the  foot  of 
the  Cross.'  It  is  executed  in  a  coarse,  unpleasing 
style,  and  the  drawing  is  very  incorrect. 

"BARONI-CAVALCABO,  Kaspab  Anton  von,  a 
Tyrolese  historical  painter,  was  born  at  Sacco  in 
1682.  He  was  instructed  in  the  art  by  Giovaimi 
Baroni,  a  kinsman,  and  by  Antonio  Balestra  at 
Verona.  He  then  went  to  Venice  and  Rome, 
where  he  studied  in  the  school  of  Carlo  Maratti. 
He  devoted  his  talents  chiefly  to  biblical  and  re- 
ligious subjects,  and  be  presented  many  of  his  pic- 
tures to  the  churches  of  Sacco,  Trent,  and  Roveredo. 
During  the  greater  part  of  his  Ufe  he  lived  in 
Sacco,  where  he  died  in  1759.  Many  of  his  draw- 
ings are  in  the  Library  at  Innsbruck. 

BAROZZI.     See  Barocci. 

BARRA,  JoHAN.     See  Bara. 

BARRABAND,  Pierre  Paul,  a  French  painter 
of  flowers,  birds,  and  other  subjects  in  natural 
history,  was  born  at  Aubusson  in  1767.  He  studied 
under  Malaine,  the  designer  of  the  tapestry  manu- 
factory of  the  Gobelins.  Le  Vaillant,  the  cele- 
brated traveller,  employed  him  to  paint  the  birds 
of  Africa,  parrots,  and  birds  of  paradise  for  his 
works.  He  also  supplied  the  illustrations  for  the 
edition  of  BufEon  published  bySonnini;  for  the 
'  History  of  Insects,'  by  Latreille,  and  for  the  great 
work  of  the  Institute  on  Egypt  He  was  professor 
at  the  School  of  Design  at  Lyons  ;  and  he  executed 
numerous  designs  for  Sevres  porcelain,  and  decor- 
ated the  dining-room  at  St.  Cloud.  He  died  at 
Lyons  in  1809. 

BARRALET,  John  James,  of  French  extraction, 
was  bom  in  Ireland  ;  he  was  in  early  life  a  draw- 
ing-master in  Dublin,  but  came  to  London  and 
practised  water-colour  painting.  He  exhibited  three 
landscapes  at  the  Royal  Academy  in  1770,  and 
occasionally  exhibited  in  succeeding  years.  He  was 
employed  in  illustrating  books  on  Irish  Antiquities. 
In  1795  he  emigrated  to  America,  where  he  died 
in  1812.  His  brother.  J.  Melchior  Barbalet,  was 
a  teacher  in  the  Rojal  Academy  School,  and  occa- 
sionally, between  the  years  1775  and  1789,  sent 
tinted  drawings  to  the  Academy  Exhibitions. 

BARRANCO.  Bernardo  MARTINEZ  del.  See 
Martinez  del  Barranco. 

BAERAS,  S^BASTiEN,  a  painter  and  engraver, 
was  born  at  Aix,  in  Provence,  in  1653.  He 
was  a  pupil  of  Boyer  d'Aguilles,  and  studied  for 
some  time  in  Rome.  He  died  at  Aix  in  1703.  The 
first  edition  of  the  Boyer  d'Aguilles  Collection,  pub- 
lished in  1709,  contained  twenty-seven  plates  in 
mezzotint,  scraped  by  this  master ;  they  were  re- 
placed in  the  second  edition  by  plates  engraved  by 
Coelemans.  The  former  have  become  very  scarce. 
He  also  engraved  a  portrait  of  Lazarus  Maharky- 
sus,  a  physician  of  Antwerp,  after  Van  Dyck. 

BARRAUD.  Henry,  a  younger  brother  of 
William  Barraud,  was  born  in  1812.  He  ex- 
celled as  an  animal  painter,  and  in  his  later  life 
exhibited  pictures  which  were  engraved  and  be- 
came very  popular.  The  most  important  of  these 
were,  '  We  praise  thee,  0  God '  (three  choir  boys 
in  their  surplices),  'The  London  Season'  (a  scene 
in  Hyde  Park),  and  '  Lord's  Cricket  Ground.'  He 
died  in  1874. 

BARRAUD,  William,  an  animal  painter,  was 
bom  in  1810.  The  family  of  this  artist  came  over 
to  England  from  France  at  the  rime  of  the  Revo- 
cation of  the  Edict  of  Nantes  ;  his  father  held  an 


PAINTERS  AND  ENGRAVERS. 


appointment  in  the  Custom-house,  and  his  grand- 
father was  a  ■well-kno^vIl  chronometer-maker  in 
Comhill.  His  taste  for  painting  was  most  probably 
inherited  from  his  maternal  grandfather,  an  excel- 
lent miniature  painter;  but  it  was  not  fostered  very 
early  in  life,  for,  on  leaving  school,  he  took  a  situa- 
tion in  the  Customs,  where  he  remained  but  a  short 
time ;  he  quitted  it  to  follow  the  profession  most 
in  unison  with  his  feelings,  under  the  guidance 
of  Abraham  Cooper,  R.A.,  with  whom  he  studied 
for  a  considerable  time.  Without  attaining  to  the 
highest  rank  in  his  peculiar  department,  that  of  a 
painter  of  horses  and  dogs,  for  to  these  he  chiefly 
confined  his  practice,  he  was  always  correct  in  his 
style  of  work ;  while  the  subject  pictures  which 
he  painted,  in  conjunction  with  his  brother  Henry, 
were  far  above  mediocrity,  both  in  conception  and 
treatment.  The  two  brothers  were  for  many  years 
joint  exhibitors  at  the  Royal  Academy  and  the 
British  Institution.   William  Barraud  died  in  1850. 

BARKE,  De  la.     See  De  la  Baer. 

BARRERA,  Francisco,  a  Spanish  fresco-painter, 
is  best  known  by  his  eloquent  and  successful 
appeal  on  behalf  of  his  fellow-artists,  upon  whom 
in  1640  the  Government  -ivished  to  impose  the 
taxes  levied  upon  trade  corporations.  No  details 
of  his  life  are  known. 

BARRERA,  Jacobo  de,  was  a  Spanish  historical 
painter,  many  of  whose  works,  dated  1522,  are  in 
the  cathedral  of  Seville.  He  was  a  friend  and 
fellow-worker  of  Covarrubias,  and  died  insane, 
but  in  what  year  is  not  known. 

BARRET,  George,  an  eminent  painter  of  land- 
scapes, was  born  in  Dublin  in  1728  (or  1732),  and 
received  his  first  education  in  art  in  the  Drawing 
Academy  of  Mr.  West,  in  that  city.  Having  been 
introduced  by  his  patron,  Mr.  Burke,  to  the  Earl  of 
Powerscourt,  he  passed  a  great  part  of  his  youth 
in  studying  and  drawing  the  charming  scenery 
around  Powerscourt  Park ;  and  he  soon  after  gained 
the  premium  offered  by  the  Dublin  Society  for  the 
best  landscape.  Barret  came  to  England  in  1762, 
and  two  years  afterwards  gained  the  fifty  pounds 
premium  given  by  the  Society  of  Arts,  fie  had 
the  honour  of  contributing  to  the  establishment  of 
the  Royal  Academy,  of  which  he  was  one  of  the 
earliest  members.  He  was  a  chaste  and  faithful 
delineator  of  English  landscape,  which  he  viewed 
with  the  eye  of  an  artist,  and  selected  with  the 
feeling  of  a  man  of  taste.  His  colouring  is  excel- 
lent, and  there  is  a  freshness  and  dewy  brightness 
in  his  verdure  which  is  only  to  be  met  with  in 
English  scenery,  and  which  he  has  perfectly 
represented.  The  landscapes  of  this  artist  are  to 
be  found  in  several  of  the  collections  of  the  nobil- 
ity ;  but  his  principal  works  are  in  the  possession 
of  the  Dukes  of  Portland  and  Buccleuch.  His 
decoration  of  the  great  room  at  Norbury  Park, 
near  Leatherhead,  will  ever  rank  among  his  most 
celebrated  productions.  He  died  at  Paddington  in 
1784. 

There  are  a  few  spirited  and  picturesque  etch- 
ings by  him  as  follow  : 

A  View  of  the  DarglcB,  near  Dublin. 

A  set  of  six  Views  of  Cottages  near  London, 

A  large  landscape,  with  Cottages. 

A  View  of  Hawardeu  Castle ;  dated  1773. 

BARRET,  George,  '  the  younger,'  a  son  of  the 
artist  of  the  same  name,  was  born  about  1774,  and 
was  one  of  the  first  members  of  the  Water-Colour 
Society,  on  its  foundation  in  1804,  and  an  exhibitor 
iu  its  Gallery  for  many  years.   In  1840  he  published 


a  series  of  Letters  on  the  '  Theory  and  Practice  of 
Water-Colour  Painting.'  He  died  in  1842,  after  a 
long  illness.  There  are  several  drawings  by  him 
in  the  South  Kensington  Museum.  His  brother, 
J.  Barret,  and  his  sister,  M.  Babret,  were  also 
painters  in  water-colours,  and  occasionally  ex- 
hibited their  works.     Miss  Barret  died  in  1836. 

BARRET,  Ranelagh.  This  artist  is  mentioned 
by  Lord  Orford  as  a  noted  copyist,  who  made 
duplicates  of  several  pictures  in  Sir  Robert  Wal- 
pole's  collection,  and  of  others  in  the  galleries 
of  the  Duke  of  Devonshire  and  Dr.  Meade.  He 
succeeded  especially  m  reproducing  the  works  of 
Rubens.     He  died  in  1768. 

BAKRI,  GlACOMO,  a  Venetian  painter  and  en- 
graver, flourished  about  the  year  1670.  He  etched 
some  plates  from  his  own  designs,  and  in  1671  pub- 
lished a  book  of  some  reputation,  entitled  '  Viaggio 
pittoresco  d' Italia.'  He  died  about  1690.  There 
is  a  slight  free  etching  by  him  of  the  '  Nativity,' 
after  Paolo  Veronese. 

BARRIERS,  Dominique,  a  French  painter  and 
engraver,  was  bom  at  Marseilles  about  the  year 
1622.  He  chiefly  resided  at  Rome,  where  he  en- 
graved a  considerable  number  of  plates,  in  a  very 
agreeable  style,  after  Claude  and  other  landscape 
painters,  as  well  as  other  subjects.  They  are 
neatly  etched  in  the  manner  of  Stefano  della  Bella. 
He  died  in  Rome  in  1678.  He  sometimes  signed 
his  plates  with  his  name,  Dominictis  Barriers 
MassUiensis,  and  sometimes  with  the  cipher  which 
is  the  mark  used  by  Domenico  del  Barbiere, 
and  thus  mistakes  frequently  arise,  although  TJX 
their  styles  are  extremely  difllerent.  Among  Q} 
others  we  have  the" following  by  him : 

Portrait  of  Jean  de  la  Valette ;  marked  D.  B. ;  scarce 

A  set  of  six  Landscapes. 

A  set  of  twelve  Landscapes;  dedicated  to  Lelio  Orsini 
1651. 

Seven  Views  of  the  Villa  Aldobrandini.     1649. 

A  Landscape,  with  the  Zodiac ;  inscribed  Tim  profert 
ubi,i-c.  ■' 

A  View  of  Frascati. 

Pontana  maggiore  nel  Giardino  di  Tivoli,  with  his 
cipher. 

Eighty-four  Views  and  Statues  of  the  ViUa  Pamphili. 

Four  ;  entitled  Catafalco  e  apparato  nella  chiesa,  f  c. 

Sepulchral  Monument  of  N.  L.  Plumbini ;  Dominiciis 
Barriere  Galliis,  in.  ex.  del.  et  sail. 

Hercules,  after  a  basso-rilievo  in  the  Medicean  Garden. 

A  large  Plate ;  entitled  Circmn  Urbis  Agonalibus,  %c. 
with  many  Figures.     1650. 

Several  plates  of  the  History  of  ApoDo ;  after  the  pic- 
tures by  Bomenichitio  and  Viola. 

BARRON,  Hugh,  the  son  of  an  apothecary  in 
Soho,  was  born  about  1746,  and  became  a  pupil  of 
Sir  Joshua  Reynolds.  From  the  year  1766  to  1786 
he  exhibited  many  portraits,  which  were  but  poor 
in  comparison  with  the  works  of  his  celebrated 
instructor.     He  died  in  1791. 

BARRON,  William  Augustus,  a  younger 
brother  of  Hugh  Barron,  was  a  pupil  of  William 
Tomkins,  A.R.A.  He  gained  a  Society  of  Arts 
premium  in  1766,  and  started  in  life  as  a  teacher 
of  drawing.  From  1774  to  1777  he  exhibited 
landscape  views  at  the  Academy,  some  of  which 
were  engraved  and  published.  On  receiving  a 
Government  appointment  he  relinquished  his  art. 

BARROSO,  Miguel,  a  Spanish  painter,  born  at 
Consuegra  in  1538.  According  to  Palomino,  he 
was  a  scholar  of  Gasparo  Becerra.and  distinguished 
himself  as  an  architect,  as  well  as  a  painter.  He 
was  employed  by  Philip  II.  in  the  Esoorial,  where 

87 


A  BIOGRAPHICAL  DICTIONABY  OF 


he  painted,  in  the  principal  cloister,  the  '  Resur- 
rection,' '  Christ  appearing  to  the  Apostles,'  the 
'  Descent  of  the  Holy  Ghost,'  and '  St.  Paul  preach- 
ing.' In  1589  he  was  made  painter  to  the  king. 
His  compositions  are  copious,  and  his  design  cor- 
rect. Cean  Bermudez  and  Quilliet  say  that  he  failed 
sometimes  in  vigour  and  knowledge  of  chiaroscuro ; 
but  that  his  colour  was  that  of  Barocci,  and  his 
forms  those  of  Correggio.  He  died  at  the  Escorial 
in  1590. 

BARRY,  Hendbik.     See  Bary. 

BARRY,  J.,  was  a  miniature  painter,  who  exhi- 
bited at  the  Royal  Academy  at  intervals  from  1784 
to  1819 — amongst  others  the  '  Four  Seasons,'  and 
various  fancy  portraits. 

BARRY,  James.  This  eminent  artist  was  bom 
at  Cork  in  1741.  He  was  the  son  of  a  ship-master 
who  traded  from  Cork  to  England,  and  was  intended 
by  his  father  to  succeed  him  in  that  calling;  but 
his  decided  inclination  for  dramng  induced  his 
parents  to  permit  him  to  follow  the  bent  of  his 
genius  ;  and  he  was  educated  at  the  Academy  of 
Mr.  West  at  Dublin,  where,  at  the  age  of  twenty- 
two,  he  gained  the  premium  for  the  best  historical 
work,  by  his  picture  of  '  St.  Patrick  baptizing  the 
King  of  Cashel.'  His  merit  procured  him  the 
patronage  of  Mr.  Burke,  by  whose  kindness  he  was 
enabled  to  travel,  and  to  visit  Italy,  where  he 
remained  four  years.  During  his  residence  abroad 
he  was  made  a  member  of  the  Clementine  Academy 
at  Bologna,  on  which  occasion  he  painted  for  his 
diploma  picture  '  Philoctetes  in  the  Isle  of  Lem- 
nos.'  He  returned  to  England  in  1770,  and  the 
year  afterwards  exhibited  at  the  Royal  Academy 
his  picture  of 'Adam  and  Eve'  (now  in  the  posses- 
sion of  the  Society  of  Arts),  and  the  following  year 
produced  his '  Venus  Anadyomene,'  a  picture  which 
gained  his  election  as  Associate  of  the  Royal  Aca- 
demy. In  1773  he  became  a  Royal  Academician. 
In  1775  Barry  published  a  reply  to  the  Abbi5 
Winckelmann,  who  had  asserted  that  the  English 
are  incapable  of  attaining  any  great  excellence  in 
art.  on  account  of  their  natural  deficiency  of  genius. 
and  the  unfavourable  temperature  of  their  climate  ; 
it  was  considered  a  triumphant  answer.  He  soon 
afterwards  made  his  proposal  to  the  Society  for 
the  Encouragement  of  Arts  to  paint  gratuitously 
a  series  of  six  pictures,  allegorically  illustrat- 
ing the  '  Culture  and  Progress  of  Human  Know- 
ledge,' which  now  decorate  the  great  room  of  the 
Society.  This  immense  work  he  accomplished, 
without  assistance,  in  the  short  space  of  three 
years,  and  it  is  sufficient  to  prove  the  capacious 
stretch  of  his  mind  and  the  abundance  of  his 
invention.  The  most  important  of  the  series  is 
a  view  of  Elysium  (42  feet  long),  in  which 
the  artist  painted  the  portraits  of  the  great  and 
good  of  all  nations.  A  young  lady,  after  look- 
ing at  it  earnestly,  said  to  Barry,  "  The  ladies,  I 
see,  have  not  yet  arrived  in  this  Paradise  of  yours." 
"  Oh,  but  they  have,  madam,"  replied  the  painter ; 
"  they  reached  Elysium  some  time  ago ;  they  are 
beyond  that  very  luminous  cloud,  and  very  happy 
they  are,  I  assure  you."  On  the  resignation  of 
Edward  Penny,  in  1783,  he  was  elected  Professor 
of  Painting  to  the  Royal  Academy.  It  is  to  be 
regretted  that  this  artist's  undoubted  genius  and 
loftiness  of  mind  were  accompanied  by  a  fiery  and 
turbulent  nature,  which  frequently  hurried  him 
into  the  most  imprudent  and  outrageous  intemper- 
ance of  conduct.  This  unfortunate  disposition 
produced  many  unpleasant  dissensions  with   his 

88 


brother  Academicians,  and  finally  occasioned  his 
expulsion  from  the  Academy  in  1799.  He  died  in 
London  in  1806  ;  his  body  lay  in  state  in  the  great 
room  of  the  Society  of  Arts,  and  was  buried  in  the 
crypt  of  St.  Paul's  Cathedral. 

The  principal  works  of  Barry  are  his  pictures  at 
the  Society  of  Arts,  in  the  Adelphi,  hiis  '  Venus 
Anadyomene,'  '  Birth  of  Pandora,'  and '  King  Lear,' 
for  Boydell's  '  Shakespeare  Gallery.'  His  engrav- 
ings of  many  of  his  works  may  be  regarded  as  the 
productions  of  a  painter  inattentive  to  that  beauty 
and  delicacy  of  execution  which  are  looked  for  in  the 
productions  of  a  professional  engraver.  "  Barry," 
says  Allan  Cunningham,  "  was  the  greatest  enthu- 
siast in  art  which  this  country  ever  produced  ;  his 
passion  amounted  to  madness."  He  was  a  bigoted 
Roman  Catholic,  cared  little  for  the  society  of  his 
fellow-men,  and  lived  alone  in  a  wretched  house 
in  Castle  Street,  Oxford  Market,  where  Burke  once 
helped  to  cook  a  steak  for  their  dinner,  while 
Barry  went  out  to  fetch  a  pint  of  porter  1  Barry's 
'  Lectures  on  Painting '  have  been  frequently 
reprinted. 

BARTH.Carl,  who  was  born  at  Eisfeldin  1782, 
studied  the  art  of  engraving  under  J.  B.  von 
Muller  at  Stuttgart,  and  thence  went  to  Munich  in 
1814,  and  three  years  later  to  Rome,  for  the  im- 
provement of  his  art.  On  his  return  to  Germany 
he  was  made  director  of  the  Herder  Art  Institution 
at  Freiburg ;  thence  he  went  to  Frankfort.  He 
subsequently  visited  Hildburghausen  and  Darm- 
stadt, where  first  appeared  evidences  of  the  de- 
rangement of  mind  which  caused  his  death.  He 
died  at  Guntershausen  near  Cassel  in  1853. 
Besides  his  engravings,  Barth  left  a  number  of 
portraits,  both  drawings  and  paintings.  The 
following  are  his  chief  plates : 

Charity ;  afUr  Vogd. 

Christ  and  the  Virgin  ;  after  Holldn. 

The  Seven  Tears  of  Famine :  after  Overbeck. 

BARTHELEMY,  Antoine,  (or  Berth^lmy,)  a 
historical  and  portrait  painter,  was  born  at  Fon- 
tainebleau  about  the  year  1633.  He  was  received 
into  the  Academy  in  1663,  and  died  at  Paris 
in  1 669.  Another  Antoine  Babthelemy,  likewise 
a  painter,  died  at  Paris  in  1649.  There  was  also 
Josias  Barthelemy,  living  in  1631,  and  Jean 
Babthelemy,  mentioned  by  the  Abbe  de  Marolles, 
either  of  whom  might  have  been  the  instructor 
of  Sebastien  Bourdon. 

BARTHOLOMEW,  Anne  Charlotte,  miniature 
and  flower  painter,  whose  parental  name  was 
Fayermann,  was  born  at  Loddon,  in  Norfolk,  in 
1800.  In  1827  she  married  Mr.  Turnbull,  the 
composer  of  several  popular  melodies,  who  died 
in  1838;  and  in  1840  she  married  Valentine  Bar- 
tholomew, who  had  acquired  considerable  reput- 
ation as  a  flower  painter.  She  died  in  1862. 
Her  works  were  chiefly  miniature  portraits,  and 
occasionally  fruit  and  flowers. 

BARTHOLOMEW,  Valentine,  who  was  born 
in  1799,  was  an  early  member  of  the  Society  of 
Painters  in  Water  Colours,  which  he  joined  in  1835. 
He  had  a  special  talent  for  flower  painting,  a 
branch  of  art  which  he  pursued  with  much  success, 
his  works  being  chiefly  remarkable  for  the  great 
care  and  the  large  scale  on  which  they  were  car- 
ried out,  '  Azaleas  '  and  '  Camellias  '  are  in  the 
South  Kensington  Museum.  Bartholomew  held  for 
many  years  the  post  of  Flower  Painter  in  Ordinary 
to  the  Queen.     He  died  in  1879. 


PAINTERS  AND  ENGRAVERS. 


BARTLETT,  William  Henry,  a  topographical 
landscape  painter,  was  born  at  Kentish  Town  in 
1809.  In  1823  he  was  articled  to  John  Britton,  the 
architect,  and  the  author  of  several  well  -  known 
illustrated  works  on  topography.  Here  —  as  the 
latter  in  a  biographical  sketch  informs  us — Bartlett 
in  the  course  of  the  year  surpassed  his  associates 
in  accuracy,  style,  and  rapidity.  Appreciating  his 
pupil's  talent,  Britton  sent  him  successively  into 
Essex,  Kent,  Bedfordshire,  Wiltshire,  and  other 
parts  of  England,  to  sketch  and  study  from  nature. 
He  went  next,  in  a  similar  way,  to  Bristol,  Glouces- 
ter, and  Hereford,  and  executed  a  series  of  elaborate 
drawings  of  the  sacred  edifices  there  for  Britton's 
'  Cathedral  Antiquities  of  England.'  He  afterwards 
made  similar  sketches  for  the  work  entitled 'Pictur- 
esque Antiquities  of  English  Cities.'  But  Bartlett's 
artistic  tours  were  not  confined  to  the  British 
Empire  alone ;  they  extended  to  all  the  four 
quarters  of  the  globe.  Previous  to  going  abroad, 
he  travelled  over  many  parts  of  England,  Wales, 
Scotland,  and  Ireland,  and  next  visited  France, 
Spain,  Germany,  Switzerland,  Holland,  and  Bel 
gium  :  the  United  States  and  Canada ;  Constan- 
tinople, Asia  Minor,  Syria,  Italy,  Greece,  and  the 
Grecian  Archipelago ;  Palestine,  Egypt,  Sinai, 
Petra,  and  the  Arabian  deserts.  He  thrice  ex- 
plored the  East,  first  in  the  years  1834  and  1835, 
again  in  1842 — 1845,  and  a  third  time  in  1853. 
He  made  four  voyages  to  America,  between  the 
years  1836  and  1852.  No  less  than  nineteen  large 
volumes  in  quarto,  containing  more  than  1000 
engravings  from  his  drawings,  are  devoted  to 
those  countries  and  districts,  nearly  the  whole  of 
which  contain  copious  and  interesting  letter-press 
from  the  pen  of  Dr.  Beattie,  who  accompanied  the 
artist  in  some  of  his  voyages  and  travels.  In 
addition  to  these  works,  Bartlett  showed,  in  the 
following  publications,  that  he  could  exercise  a 
skilful  pen,  as  well  as  a  rapid  pencil : 

Walts  about  Jerusalem.    1845. 

Forty  Days  in  the  Desert.     1848. 

The  Nile-Boat,  or  Glimpses  of  Egypt.     1849. 

The  Overland  Route.    1850. 

Footsteps  of    Our  Lord  and    nis  Apostles  in   Syria. 

Greece,  and  Italy.  1851. 
Pictures  from  Sicily.  1852. 
The  Pilgrim  Fathers.    1853. 

A  new  volume,  on  'Scripture  Sites  and  Scenes,' 
was  in  the  press,  when  the  artist  died,  on  board 
the  steamer  '  Bgyptus '  on  its  passage  homeward 
between  Malta  and  Marseilles,  in  1854. 

BARTOLI,  DoMENico.     See  Geezzi. 

BARTOLI,  PiETRO  Santi.     See  Santi. 

BARTOLI,  Taddeo  (or  Taddeo  di  Babtolo),  was 
born  at  Siena  about  1363.  The  earliest  specimen 
of  his  art  is  an  altar-piece,  representing  '  St.  Peter,' 
painted  for  San  Paolo  of  Pisa,  and  dated  1390 :  it 
is  now  in  the  Louvre.  In  1395  he  finished  an 
altar-piece  of  the  '  Virgin  and  Child  with  Saints,' 
for  a  chapel  in  San  Francesco,  Pisa,  which  is  now 
in  Vienna;  he  afterwards  adorned  the  entire  chapel 
with  frescoes  of  the  figures  of  Saints,  and  the  '  Life 
of  the  Virgin.'  In  1400^1401  Taddeo  painted  in 
the  Palazzo  Pubblico  and  other  buildings  in  Siena; 
but  of  the  works  he  executed  then  only  nine  small 
panels,  representing  nine  sentences  of  the  Creed, 
exist.  They  are  in  the  cathedral.  Soon  afterwards 
he  decorated  the  cathedral  with  frescoes  represent- 
ing Paradise  and  Hell.  There  are  preserved  in  the 
hall  of  the  Palazzo  Pubblico,  of  the  same  city,  two 
paintings  that  were  formerly  in  the  cathedral ;  the 


first  is  an  altar-piece  representing  St.  Gimignano, 
with  a  model  of  the  town  in  his  hand,  giving  the 
benediction  ;  its  side  panels  contain  four  subjects 
drawn  from  that  Saint's  life ;  the  second  is  a  panel 
with  a  '  Madonna  and  Child  and  four  Saints.'  In 
1403  he  painted,  at  Perugia,  an  altar-piece  repre- 
senting the  '  Virgin  and  Child,  with  St.  Bernard 
and  two  Angels,'  which  is  now  in  the  Academy  of 
that  city.  A  '  Descent  of  the  Holy  Ghost,'  also 
painted  in  1403,  in  the  church  of  Sant'  Agostino  at 
Perugia,  where  it  may  still  be  seen,  is  especially  to 
be  admired.  In  1404  Taddeo  had  again  returned 
to  Siena,  and  recommenced  his  works  at  the 
cathedral,  at  his  former  salary  of  twelve  and  a  half 
florins  a  month.  These  frescoes  have  all  likewise 
disappeared.  In  that  same  year  he  was  appointed 
an  ■  Executore  di  Gabella,'  and  executed  the 
'  Nativity,'  still  kept  in  the  church  of  the  Servi  at 
Siena.  In  1405  Bartoli  executed  four  frescoes 
behind  the  high  altar,  painted  the  organ-doors,  and 
filled  a  window  in  the  choir  of  the  cathedral  with  the 
'  Ascension  of  the  Virgin.'  In  the  years  1406  and 
1407  he  was  occupied  at  the  renewal  of  the  decora- 
tions in  the  chapel  of  the  Palazzo  Pubblico,  Siena, 
as  also  in  the  passage  leading  from  the  Hall  of 
Peace  to  the  Hall  of  Council,  in  the  same  building  ; 
and  he  adorned  the  Gallery  with  figures  of  Ancient 
Romans  whose  characters  symbolized  best  the  vir- 
tues of  Magnanimity  and  Justice  ;  beneath  these 
effigies  ran  a  sentence  exhorting  the  beholders  to 
imitate  these  virtues.  In  1409  Taddeo  painted 
the  '  Annunciation,'  between  SS.  Cosmo  and  Damian, 
now  in  the  Academy  of  Siena.  In  1410  he  went 
to  Volterra,  where  he  worked  for  the  church,  and 
for  the  Company  of  San  Francesco.  Of  these 
labours,  all  that  now  remains  is  an  altar-piece,  with 
the  '  Virgin,  Child,  and  four  Saints,'  in  the  Cap- 
pella  San  Carlo  of  the  cathedral  of  Volterra.  In 
the  years  1412,  1416,  and  1420  he  was  again  pro- 
moted to  the  Supreme  Council  of  Siena,  and  he 
died  in  1436(?).  Taddeo  Bartoli  upheld  the  Sienese 
school  by  the  excellence  of  his  painting,  but  he 
did  not  raise  it  above  the  style  of  his  predecessors. 
The  chief  merit  of  his  work  lies  in  the  dignity  and 
originality  of  the  invention.  Some  of  his  small 
pictures  do  him  still  greater  honour  than  his  larger 
works,  and  show  an  imitation  of  Ambrogio  Loren- 
zetti,  his  great  prototype,  and  also  the  subdued  and 
agreeable  style  of  the  Sienese  school. 

BARTOLINI,  GiosEFFO  Maria,  was  born  at 
Imola  in  1657,  and  studied  at  Bologna  under 
Lorenzo  Pasinelli.  There  are  several  of  his  works 
in  the  public  edifices  at  Imola,  which  are  highly 
esteemed,  particularly  a  picture  representing  a 
'  Miracle  wrought  by  St.  Biagio,'  in  the  church  of 
San  Domenico.     He  died  in  1725. 

BARTOLO  DI  FREDI  was  born  at  Siena  about 
13.30,  and  was  registered  in  the  Guild  of  that  city 
in  1355 ;  he  had  several  children,  who  all  died 
before  him,  with  the  exception  of  Andrea  Bartoli. 
He  was  the  companion  of  Andrea  Vanni  from 
1353,  and  was  employed  in  the  decorations  of  the 
Hall  of  Council,  at  Siena,  in  1361.  In  1362  he 
went  to  San  Gimignano,  where,  according  to  Vasari, 
he  had  already  in  1356  painted  the  entire  side  of 
the  left  aisle  of  the  Pieve  with  scenes  drawn  from 
the  Old  Testament.  In  1366  the  Council  of  the 
city  of  Gimignano  ordered  of  him  a  painting, 
representing  '  Two  Monks  of  the  Augustine  Order,' 
to  be  placed  in  the  Palazzo  Pubblico,  in  order  to 
commemorate  the  settlement  of  some  disputes 
which   had   long  existed  between  that  order  and 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  city.  In  the  early  part  of  1367  he  returned  to 
Siena,  and  was  employed  with  Jacomo  di  Mino  in 
the  decorations  of  the  cathedral.  In  1372  he  rose  to 
a  position  in  the  government  of  the  city,  and  was 
sent  to  welcome  the  new  Podesta,  on  his  approach 
to  Siena.  In  1381  he  was  himself  made  a  member 
of  the  Council,  and  in  1382  he  executed  the '  Descent 
from  the  Cross,'  now  in  the  Sacristy  of  San  Fran- 
cesco. Montalcino.  The  same  church  also  possesses 
panels  painted  by  him  containing  the  '  Baptism  of 
Christ,'  figures  of  SS.  Peter,  Paul,  and  Francis,  and 
five  scenes  from  the  life  of  St.  Philip  of  Montalcino. 
In  1388  he  completed  an  immense  altar-piece  for 
the  same  church,  which  was  originally  in  the 
resemblance  of  the  front  of  a  cathedral,  with  a 
central  and  two  side  gables,  flanked  by  two  towers. 
The  centre  gable  is  still  in  the  church,  and  repre- 
sents the '  Coronation  of  the  Virgin  ; '  the  remaining 
portions,  with  scenes  from  her  life,  are  all  in  the 
Academy  of  Siena.  The  same  gallery  also  pos- 
sesses an  'Adoration  of  the  Magi,'  by  this  artist. 
In  1389  Bartolo,  assisted  by  Luca  Thom^,  painted 
the  altar-piece  for  the  Shoemakers'  Company,  in 
the  cathedral,  and  continued  from  that  year  until 
his  death  to  furnish  altar-pieces  for  the  cathedral 
and  other  churches  of  Siena,  which  have  now  all 
disappeared.     His  death  occurred  in  1409. 

In  the  Louvre  at  Paris  there  is  a  '  Presentation 
in  the  Temple,'  bv  him. 

BARTOLOME."    See  Breenbebgh. 

BARTOLOMMEO  della  GATTA.  See  Della 
Gatta. 

BARTOLOMMEO  Di  PAGHOLO  del  Fat- 
TCEINO — commonly  known  as  Fra  Bartolommeo, 
or  Baccio  (the  shortened  form  of  Bartolommeo) — 
was  also  called  della  Porta,  because  he  resided 
near  the  gate  of  San  Pier  Gattolini  (now  the  Port^i 
Bomana),  in  Florence.  He  was  born  at  the  village 
of  SofBgnano,  near  Prato,  in  1475  ;  and  in  148-1 
entered  the  studio  of  Cosimo  Rosselli,  at  Florence, 
where  he  had  for  a  feUow-pupil  Albertinelli,  with 
whom  he  commenced  a  friendship  which  lasted 
until  the  bonds  were  broken,  in  1515,  by  the  death 
of  Albertinelli.  After  passing  some  years  under 
Rosselli.  Baccio  appUed  himself  to  an  assiduous 
study  of  the  works  of  Leonardo  da  Vinci,  whose 
grandeur  of  relief,  and  admirable  chiaroscuro,  were 
the  particular  objects  of  his  admiration.  In  com- 
pany with  his  friend,  Mariotto  Albertinelli,  he 
modelled  and  copied  from  the  ancient  bassi-rilievi, 
by  which  he  acquired  a  breadth  of  light  and  shade, 
which  is  one  of  the  most  striking  characteristics  of 
his  style.  His  first  works  were  of  a  small  size,  and 
very  highly  finished,  gracefully  composed  and  de- 
signed. A  romantic  event  in  his  youth  induced  him 
to  adopt  the  monastic  life.  Whilst  still  a  pupil  of 
Cosimo  Rosselli,  he  listened  eagerly  to  the  preach- 
ing of  the  fiery  Dominican,  Fra  Girolamo  Savona- 
rola, and  became  one  of  his  most  ardent  disciples. 
He  even  burnt  his  studies  in  the  kind  of  auto-da-fe 
made  by  the  people  on  the  Shrove  Tuesday  of  the 
year  1489,  in  the  square  before  the  convent  of  St. 
Mark.  When,  after  a  reign  of  three  years  over 
Florence,  the  Italian  Luther  was  obliged  to  shut 
himself  up  in  the  convent  of  which  he  was  the 
prior,  and  to  undergo  a  siege,  Bartolommeo  was  at 
his  side,  and,  in  the  heat  of  the  combat,  made  a 
vow  to  adopt  the  monastic  life  if  he  escaped  the 
danger,  and  he  took  the  vows  in  that  same  con- 
vent of  the  Dominicans  of  San  Marco,  in  1500. 
Hence  his  name  of  '  II  Frate.'  He  remained  four 
wliole  years  without  touching  a  pencil,  and  when 
he  yielded  at   length  to  the  solicitations  of  his 

90 


friends,  his  fellow-monks  and  his  superiors,  it  was 
on  condition  that  the  convent  should  receive  all 
the  produce  of  his  labours. 

In  1498  and  1499  Fra  Bartolommeo  had  painted 
the  celebrated  fresco  of  the  '  Last  Judgment,'  in 
Santa  Maria  Novella,  the  lower  part  of  which  was 
finished  by  his  friend  Albertinelli ;  and  in  1509  he 
entered  into  a  partnership  with  that  painter.  AMien 
Raphael  visited  Florence,  about  1506,  he  formed 
a  friendship  with  Fra  Bartolommeo,  from  whom 
he  received  some  instruction  in  the  principles  of 
colouring  and  the  folding  of  draperies,  and  in 
return  taught  the  Frate  the  rules  of  perspective. 
About  1514  Fra  Bartolommeo  went  to  Rome,  where 
he  painted  the  figure  of  St.  Paul  and  part  of  that 
of  St.  Peter,  which  he  was  obliged  to  leave  to  his 
friend  Raphael  to  finish — it  is  supposed,  on  account 
of  ill-health.  These  two  figures  are  now  in  the 
Quirinal.  On  his  return  to  Florence,  Fra  Bar- 
tolommeo executed  a  few  works  of  great  merit, 
and  died  there  in  1517. 

His  design  approached  to  that  of  Raphael  in 
grace  and  grandeur,  and  he  surpassed  him  in  the 
boldness  of  his  reliefr  and  the  rich  impasto  of  his 
colouring.  Some  of  his  rivals  had  accused  him  of 
being  incapable  of  designing  the  figure  on  a  large 
scale,  and  he  refuted  the  calumny  by  painting  his 
masterpiece,  the  celebrated  figure  of  •  St.  Mark,'  in 
the  Florentine  Gallery,  regarded  as  a  prodigy  of 
art,  and  which  occasioned  a  learned  traveller  to 
remark,  that  it  appeared  to  him  a  large  Grecian 
statue  metamorphosed  into  a  painting.  The 
jealousy  of  his  opponents  charged  him  ^vith  being 
ignorant  of  the  anatomy  of  the  human  body,  until 
he  painted  a  picture  of  St.  Sebastian,  so  correctly 
designed,  and  of  so  perfect  a  form,  that  it  excited 
universal  admiration,  and  was  judged  by  the 
monks  to  be  too  beautiful  a  figure  to  be  publicly 
exposed  in  their  church. 

The  following  is  a  list  of  some  of  Fra  Barto- 
lommeo's  principal  works : 


Berlin.         Museum. 
Florence.   Pitti  Palace. 


„       S.  31.  Nuota. 
London.     .Vat.  Gall. 


„  Jfond  Gall. 

„  Xorthbrook  Gall. 

Lucca.  Museum. 


The  Assumption  {part  by  Alberti- 
nelli). 

Marriage  of  St.  Catharine,  1512 
{part  hi/  Albertinelli), 

Entombment. 

Pieta. 

St.  Mark. 

Patron  Saints  of  Florence  (part  by 
Albertinelli). 

Virgin  enthroned  with  Saints  (his 
last  tcork). 

Salvator  Mundi. 

The  Last  Judgment.     Fresco. 

Holy  Family  {there  is  little  of  tite 
artist's  own  work  left  in  titis 
picture). 

Holy  Family. 

Holy  Family. 

God,  the  Father,  adored  by  St. 
Catharine  of  Siena,  and  Mai-y 
Mag'lalene  {painted  in  1509  for 
San  Pietro  Martire,  Murano). 

Madonna  deUa  Misericordia.  1515. 


Panshanger.  (Lord      \  g^jy  family.     1509. 


Paris. 


Covrper)  _ 
Louvre. 


Petersburg.  Hermitage. 
Pian  di  Mugnone. 
Richmond.  Sir  F.  Cook. 
Rome.      Corsini  Pal. 
Vieiina.  Gallery. 


The  Virgin  and  Saints,  presiding 

at  the  Marriage  of  St.  Catharine. 

1511  {oriyinally  in  San  Marco, 

Florence). 
The    Annunciation    {signed    and 

dated  1515). 
Madonna  with  Angels. 
Two  frescoes  I  dated  1515,  1517). 
Holy  Family. 
Holy  Family  {dited  1516). 
Presentation  in  the  Temple. 


BARTOLOMMEO  DI  PAGHOLO 


FRA   BARTOLOMMEO 


Alinari plwtu\  [The  Cathedral,  Lucca 

THE  VIRGIN  AND  CHILD  ENTHRONED  WITH  SAINTS 


i 


BARTOLOMMEO  DI  PAGHOLO 


FRA  BARTOLOMMEO 


PORTRAIT  OF  SAVONAROLA 


PAINTERS  AND  ENGRAVERS. 


BARTOLOMiMEO  di  TOMMASO  was  a  painter 
who  flourhihed  in  the  early  part  of  the  15th  century, 
and  was  of  Urabro-Sienese  education.  He  painted 
a  '  Virgin  and  Saints,'  in  1430,  for  the  church  of 
San  Salvadore,  at  Foligno.  There  also  exist  other 
paintings  by  him  in  the  churches  of  that  city. 

BABTOLOMMEO,  Nerkoccio  di.    See  De'  Landi. 

BARTOLOMMEO  VENEZIANO.     See   Venezi- 

ANO,  BARTOLOMMEO. 

BARTOLOZZr,  Francesco,  a  celebrated  en- 
graver, was  the  son  of  a  goldsmith  of  Florence, 
where  he  was  born  in  1725.  He  was  instructed  in 
drawing  by  Ferretti  at  Florence,  and  learned 
the  art  of  engraving  from  Joseph  Wagner  at 
Venice.  His  first  productions  were  some  plates 
after  Marco  Rioci,  Zuccarelli,  and  others,  engraved 
whilst  he  was  in  the  employment  of  Wagner.  But 
the  theatre  destined  for  the  display  of  his  talents 
was  England,  where  he  arrived  in  1764.  Soon 
after,  he  was  appointed  engraver  to  the  king  with 
a  salary  of  £300  a  year,  and  in  1768  he  was 
made  a  Royal  Academician.  Few  artists  have 
reached  so  distinguished  a  rank  in  their  profession 
as  Bartolozzi,  and  that  in  every  species  of  engrav- 
ing. His  etchings,  in  imitation  of  the  drawings  of 
the  most  eminent  painters,  admirably  represent 
the  spirit  of  the  originals,  and  he  was  not  less 
successful  in  the  exquisitely  finished  plates  he 
produced  in  the  various  styles  he  practised.  In 
1802  Bartolozzi  accepted  the  post  of  director  of 
the  National  Academy  of  Lisbon,  where  he  died  in 
1815.  Indefatigable  in  the  exercise  of  his  art, 
Bartolozzi  has  left  us  a  prodigious  number  of 
plates,  and  the  only  embarrassment  we  experience 
is  in  selecting  as  copious  a  list  of  his  works  as 
our  limits  will  permit,  without  omitting  many 
others  quite  worthy  of  notice. 

PLATES    WITHOUT   THE    NAME   OF   THE    PAINTER, 

SOME   FROM    HIS    OWN    DESIGNS. 
Abraham  and  the  Angels ;  an  etching. 
The  Miracle  of  the  Manna ;  an  etching. 
Job  abandoned  by  his  Friends. 
Charity,  an  oval ;  inscribed  Ipse  fecil. 
The  Origin  of  Painting.     1787. 
The  Virgin  and  Infant ;  circular. 

PLATES   AFTER    VARIOUS   MASTERS. 
St.  Francis  of  Sales  triumphing   over  Heresy     after 

Amiconi. 
St.  Luke  painting  the  Portrait  of  the  Virgin;  after 

Cantarini. 
The  Adulteress  before  Christ;  after  Agostirw  Carracci. 
Eoland  and  Olympia;  after  Annibale  Carracci. 
Clytie ;  circular ;  after  the  same. 
A  set  of  six  plates;    after  origmal  drawings  by  the 

Carracci ;  m  the  Boyal  Collection,  in  imitation  of  the 

drawings. 
A  set  of  eight  subjects ;  after  Castifflione. 
The  Parting  of  Achilles  and  Briseis ;  after  Cipriani. 
Hector  taking  leave  of  Andromache  ;  after  the  same, 
Chryseis  restored  to  her  Father ;  after' the  same. 
The  Death  of  Dido ;  after  the  same. 
Jupiter  and  Juno  on  Mount  Ida ;  after  the  same. 
Venus  presentmg  the  Cestus  to  Juno ;  after  the  same. 
Venus  attired  by  the  Graces ;  after  the  same. 
Tancred  and  Herminia ;  after  the  same. 
Tancred  and  Clorinda;  after  the  same. 
Shakespeare  crowned  by  Immortahty ;  after  the  same. 
Rachel  hiding  the  Idols  of  her  Father;  after  Pietro  da 

Cortona. 
Laocoon  attacked  by  the  Serpents ;  after  the  same 
The  Death  of  Lord  Chatham  ;  after  Copley. 
The  Virgin  and  Infant ;  after  Carlo  Bold. 
A  set  of  thirteen  plates  from  the  paintings  by  I)omem- 

chino  ;  in  the  cloister  of  Grotta  Ferrata. 
Twenty-three  plates,  making  a  part  of  eighty-one,  from 

drawings  by  Quercino  ;  in  the  Eoyal  Collection. 


A  set  of  Portraits  of  Illustrious  Persons  of  the  time  of 
Henry  VIII.;  after  drawimjs  by  Holbein;  in  the 
Royal  Collection. 

Two  Portraits  of  Henry  and  Charles  Brandon,  sons  of 
the  Dukes  of  Suffolk  ;  after  two  miniatures  by  Hol- 
bein^ executed  in  coloxu:s  ;^  very  fine. 

Socrates  in  Prison  ;  after  Angelica  Kauffmann. 

Penelope  lamenting  Ulysses ;  after  Angelica  Kauffmann. 

Telemachus  and  Mentor  in  the  Isle  of  Calypso ;  after  the 
same. 

Paulus  Emilius  educating  his  Children ;  after  the  same. 

Coriolanus  appeased  by  his  Family ;  after  the  same. 

The  Interview  of  Edgar  and  Elfrida  after  her  Marriage 
with  Athelwold;  after  the  same.  This  plate  was 
begun  by  the  unfortunate  Mylandy  and  was  finished 
by  Bartolozzi  for  the  benefit  of  his  widow. 

King  John  ratifying  Magna  Charta ;  after  MoHimer ; 
tlie  companion  engraved  under  the  same  circum- 
stances. 

The  Portrait  of  Carlo  Cignani ;  after  C.  Maratti. 

The  Portrait  of  Pietro  da  Cortona ;  after  the  same. 

Prometheus  devoured  by  the  Vulture ;  after  Michel- 
angelo. 

The  Bust  of  Michelangelo. 

Cornelia,  Mother  of  the  Gracchi ;  after  West. 

Mary,  Queen  of  Scots,  and  her  Son ;  after  Zucchero. 

A  Collection  of  Gems,  designed  by  various  artists, 
engraved  by  Bartolozzi. 

BARTOLOZZI,  Gaetano  Stefano,  a  son  of 
Francesco  Bartolozzi,  was  born  .in  1757,  and  was 
also  an  engraver,  but  of  no  great  celebrity.  He 
was  the  father  of  the  celebrated  Madame  Vestris. 
He  died  in  1821. 

BARTSCH,  Adam,  Ritter  von,  a  modern  German 
engraver,  was  born  at  Vienna  in  1757.  He  attended 
the  school  of  engravers  in  that  city,  and  studied 
there  under  Schmiitzer.  In  1775  he  published 
designs  of  medals  during  the  reign  of  Maria 
Theresa,  and  subsequently  engraved  numerous 
plates,  some  from  the  works  of  great  masters,  and 
some  from  his  own  compositions.  He  died  at 
Hietzing  in  1821.  He  was  principal  keeper  of  the 
Imperial  and  Royal  Gallery  at  Vienna,  and  author 
of  that  very  elaborate,  correct,  and  useful  work, 
'  Le  Peintre  Graveur,'  which  may  be  safely  pro- 
nounced the  best  account  of  prints  ever  published. 
For  this  work  he  etched  a  series  of  facsimiles  of 
unique  or  extremely  rare  etchings  by  Dutch  and 
Flemish  artists,  in  which  the  touch  and  spirit  of 
the  originals  are  admirably  copied.  He  also  pub- 
lished Catalogues  of  the  Etchings  by  Rembrandt 
and  his  scholars,  of  the  works  of  Guido  Reni,  and 
of  those  of  Lucas  van  Leyden,  and  other  artists. 

PORTRAITS. 
Adam  Bartsch. 

Johann  Christian  Brand,  painter. 
A  Young  Lady  in  a  Nightcap.     1785. 
Michael  Wohlgemuth,  painter. 

Antonio  Allegri  da  Correggio ;  after  Carlo  Maratti. 
Madame  Tscida. 

A  Girl  reading  by  CandleUght,  said  to  be  after  Guido. 
The  Marriage  of  Alexander  and  Roxana ;  ajter  Parmt- 

giano. 
A  set  of  thirty-nine  plates,  in  imitation  of  the  drawings 

of  several  masters,  in  the  Imperial  Collection. 
Twelve  studies  of  Animals ;  after  J.  H.  Roos  ;  four  on 

each  plate. 
A   Traveller  passing  a  Forest,  with  a  Boy  holding  a 

Lantern ;  engraved  in  the  manner  of  Rembrandt. 
The  Obsequies  of  Pubhus  Decius  Mus,  large  plate ;  after 

Rubens. 
Horses ;  after  Rugendas, 
Cattle ;  after  Rubens. 
Boar-hunt ;  after  Snijders. 

His  son,  Friedrich  von  Bartsch,  published  in 
1818  a  catalogue  raisonn^  of  all  the  prints  by  his 
father ;  they  amount  to  505  pieces. 

'Jl 


A  BIOGRAPHICAL  DICTIONARV:  OF 


BARTSCH,  Gottfried,  a  German  engraver,  was 
a  native  of  Schweidnitz  in  Silesia.  He  settled  at 
Berlin,  and  was  engraver  to  the  'Great  Elector' 
from  1674  to  16^-1.  By  him  we  have  a  small  col- 
lection of  prints  from  the  pictures  in  the  Gallerj- 
at  Berlin.  He  also  engraved  the  following 
plates  : 

The  Holy  Family  ;  after  Van  Dyck. 

Meleager  presentiug  the  Head  of  the  Boar  to  Atalanta ; 

afttr  Eubens. 

BARUFFALDI,  Axto.nio,  was  born  at  Ferrara 
in  1793,  studied  at  Venice,  and  died  in  1819.     The 
gallery  of  his  native  city  possesses  a  '  Virgin  read- 
ing '  iind  a  '  Tancred  and  Armida,'  by  him. 
BARVEZ.     See  Bervic. 

HARWELL,  Henry  George,  was  bom  in  1829. 
His  picturts,  which  he  painted  in  water-colours, 
represent  landscapes  from  English  scenery.  A 
few  of  these,  from  the  year  1878,  he  exhibited  in 
London  at  the  Royal  Institute  of  Painters  in  Water- 
Uolours,  and  also  at  the  Grosvenor  Gallerj'.  He 
lived  at  Norwich,  and  died  there  in  1898. 

BARY,  Hendrik,  (or  Barry,)  an  eminent  Dutch 
engraver,  was  born  about  the  year  1626.  He 
appears  from  his  style  to  have  been  either  a  scholar 
of  Cornells  Visscher,  or  to  have  formed  himself 
from  his  manner.  We  have  several  plates  by  him 
of  portraits  and  various  subjects,  executed  very 
neatly  ^vith  the  graver,  which  have  great  merit, 
although  they  are  by  no  means  equal  to  the  works 
of  Visscher.  He  generally  marked  his  plates  with 
his  name,  H.  Bary.  and  sometimes  H.  B.  By  him 
we  have  the  following  : 

portraits. 

Dirk  and  Walther  Crabeth,  glass-painters. 

Adriaan  Heerebord.     1659. 

Hieronimus  van  Bivemink. 

Desiderius  Erasmus,  of  Rotterdam. 

■Willem  Joseph  Baron  of  Ghent,  admiral  of  Hollanii 

Eombout  Hagerbeets. 

Annius  MaiLUus  Torquatus  Severinus  Boethius. 

Jacobus  Taurinus. 

Count  Johann  Waldstein. 

La  Duchesse  de  la  Valliere. 

Hugo  Grotius ;  after  Mireielt. 

Comelis  Ketel,  painter ;  se  ipse  pinx.     1659. 

Jacob  Backer,  painter ;  G.  Terborch  pirut.  ;  ovai. 

John  Schellhammer,  pastor  ;  Escopius  del. 

John  Zas,  pastor;  C/ir.  Pierson  pitix. 

Jacob  Batiliere,  predicant ;    TVesterhaem  pinx. 

Arnold  Gesteramus,  predicant ;   Westerhaem  pinx. 

Michael  Ruyter,  admiral ;  after  F.  Bol. 

Admiral  Vlugh  ;  after  B.  ran  der  Heist. 

I*o  Aitzema,  historian ;  after  Jan  de  Baan. 

George  de  Mey,  theologian ;  after  C.  van  Diemen. 

SUBJECTS   AFTER   VARIOUS    MASTERS,    AND   AFTER 

HIS   DESIGNS. 
Neptune,  emblematical. 

Allegorical  title  for  the  work  of  Leo  van  Aitzema. 
A  Mother  suckling  her  Child. 
Two  Drolleries ;  after  Brouwer  ;  H.  Barij  fee.,  mthont 

the  name  of  the  painter. 
A  Peasant  Family ;  after  Fitter  Aertsen. 
Summer  and  Autumn,  in  one  plate,  represented  by  two 

Children,  one  holding  a  handful  of  Com :  after  Van 

Di/ck.  ■> 

A  young  'Woman  leaning  on  a  Table  sleeping,  and  a 

young  Man  laughing ;  after  the  same. 
A  yoimg  Lady  sitting  at   a  Table,  with  a  Hat  and 

Feathers;  after  Terborch. 

BARYE,  Antoine  Louis,  born  in  Paris  in  1795, 
was  a  successful  sculptor  who  also  painted  in  water- 
colours  and  etched  several  plates  ;  he  was  a  pupil 
of  Gros.  He  received  the  decoration  of  an  officer 
of  the  Legion  of  Honour  in  1855,  and  was  elected 

92 


a  member  of  the  Academy  in  1868.  He  died  in 
Paris  in  1875. 

BAS,  Jacques  Philippe  le.    See  Le  Bas. 

BAS,  Martin,  (or  Basse.)  a  Dutch  engraver,  who 
flourished  about  the  year  1600.  From  the  style 
of  his  plates,  it  is  very  probable  that  he  was 
brought  up  in  the  school  of  Wierix ;  his  engrav- 
ings are  evidently  in  imitation  of  the  manner  of 
that  master.  He  was  chiefly  employed  in  portraits. 
We  have  by  him  the  portrait  of  Edmund  Genungs, 
Jesuit,  prefixed  to  his  '  Memoirs,'  published  1591 ; 
the  portrait  of  Philip  Bosqueri,  marked  Mart. 
Baase ;  and  a  small  frontispiece  of  '  St.  Peter  and 
St.  Paul;  dated  1622. 

BASAITI,  Marco,  a  native  of  Friuli,  was  bom, 
according  to  some  authorities,  of  Greek  parents, 
and  flourished  from  about  1503 — the  date  of  his 
earliest  known  work — to  1520.  He  was  a  rival 
of  Giovanni  Bellini,  and  if  he  did  not  equal  that 
master  in  every  respect,  there  are  some  points  in 
which  he  surpassed  him.  He  was  happier  in  his 
composition,  and  understood  better  how  to  unite  his 
grounds  with  his  figures.  His  pictures  are  signed 
JI.  Baxit,  Marcus  Baxaiti,  or  Marcus  Basaiti. 
The  fallowing  are  his  best  works  : 

Berlin.       Museum.         Pieta. 

,,  „  St.  Sebastian. 

London,     ^'at.  Gall.      St.  Jerome  reading. 

,,  ,,  Infant  Christ  asleep  on  the  lap  of 

the  Virgin  {doubtful). 
Eovigo.      Museum.         Christ  carrying  the  Cross  (prota}?y 

painted  in  1517.) 
Venice.      Academy.      Christ  praying  in  tlieGarden((/ditf<i 
1510). 
„  ,,  Calliug  of  St.  Jamesand  St.  John 

{painted  in  1510). 
,,  ,,  A  Dead  Christ  with  Two  Angels. 

And  others. 
„  Manfrini  G.  A  Madonna  and  Child. 

,,  5'.  Pietro  d.  \  St.  George  and  the  Dragon  {dated 

Castello.  j      1520). 
Vienna.      Belvedere.     Calling  of  St.  James  and  St.  John 
{dated  1515). 

BASAX,  Pierre  Franqois,  a  French  engraver, 
born  in  Paris  in  1723.  He  was  a  pupil  of  Etienne 
Fessard  and  Jean  Daulle.  He  was  principally 
occupied  as  a  printseller,  and  published  a  '  Diction- 
naire  des  Graveurs '  in  1767.  He  died  in  1797. 
He  engraved  the  following  plates  : 

The  Gothic  Songster;  after  A.  Both. 
An  Ecce  Homo ;  after  Varavaggio. 
Christ  breaking  the  Bread ;  after  Carlo  Dolci. 
St.  Maurice ;  after  Zuea  Giordano. 
Bacchus  and  Ariadne ;  after  Jordaena. 
Christophe  Lemenu  de  St.  Philibert ;  after  Le  Ferre. 
Louis  XV.,  with  Diogenes;  after  Le  Moine. 
The  Female  Gardener ;  after  Frans  Mieris. 
The  Card-players ;  after  Teniers. 
An  Incantation ;  after  the  same. 
Carle  Vanloo. 

Armaud    Gaston   de   Rohan,   called   the  Cardinal   de 
Soubise. 

He  also  executed  several  copies  after  the  scarce 
etchings  of  Rembrandt. 

BASCHENIS,  EvARiSTO,  a  native  of  Bergamo, 
bom  in  1607,  or  1617  (for  authorities  differ),  was  a 
painter  of  the  Venetian  school.  He  was  among  the 
first  to  introduce  in  Italy  what  is  now  termed  paint-- 
ing  of  still-life.  He  painted  musical  instruments 
with  much  effect,  arranging  them  on  tables  covered 
^vith  the  most  beautiful  tapestries,  and  mingled 
with  various  other  objects.  From  these  materials 
he  produced  pictures  with  so  much  skill  as  quite 
to  deceive  the  spectator.     He  died  in  1677. 


F.   BARTOLOZZI 


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PAINTERS  AND  ENGRAVERS. 


BASHKIRTSEFF,  Maria  Constantinova,  was 
born  at  Gavruntsi  in  Russia  in  1H60.  Slie  was 
brought  lip  by  her  mother,  who  was  living  apart 
from  her  Imsband,  Marshal  BashUirtseff,  in  Italy, 
and  in  Germany,  and  received  an  education  far  in 
advance  of  that  usually  given  to  girls.  She  was 
a  clever  musician  from  a  child,  ahle  to  speak  four 
European  la  guages  with  facility,  and  to  read  Greek 
and  Latin  wllh  accuracy.  In  1877  she  settled  in 
Paris  and  took  lessims  Imm  T.  Robert-Fleury.  Her 
first  exhibiied  picture  wa.s  a  portrait,  followed  in 
1881  by  'At(51ier  Jiidan,'  1882  'Jean  et  Jacques,' 
1884  '  The  .Meetiug.'  Sh>'  died  of  rapid  consumption 
in  1884.  She  will  be  better  known  by  her  remark- 
able autobiographical  diary  and  by  her  correepond- 
enceunderaiiorade  plumi-  with  Guyde  Maupassant, 
and  by  her  acqiiaiiiliiiice  with  Bastien-Lepage, 
rather  than  by  her  own  exhibited  works,  clever  as 
they  undoubtedly  are.  Sop  the  writings  of  M. 
Blind  on  Marie  Baslikirtseff  1890,  1891,  and  1892. 

B.\SILETTI,  LuiGl,  who  was  born  at  Brescia  in 
1780,  and  died  in  1860,  is  the  author  of  a  '  Cascade 
at  Tivoli '  in  the  Brera  at  Milan. 

BASILI  PlETBO  Angiolo,  was  born  at  Gubbio 
about  1550.  He  was  first  a  scholar  of  Felice 
Daraiani,  but  afterwards  studied  under  Cristofano 
Roncalli,  whose  manner  he  followed,  though  in  a 
more  delicate  style.  His  fresco  paintings  in  the 
cloister  of  Sant'  Ubaldo  in  Gubbio  are  much 
esteemed  ;  and  in  the  church  of  San  Marziale  is  a 
picture  in  oil  of  '  Our  Saviour  preaching,'  with  a 
great  number  of  figures.     Basili  died  in  1604. 

BASILICATA,  Pietro  della.     See  Afesa. 

BASIRE,  James,  a  son  of  Isaac  Basil e,  an 
engraver  of  maps,  was  bom  in  London  in  1730. 
Early  in  life  he  went  with  a  patron  to  Rome  and 
copied  the  works  of  Raphael.  In  1760  he  became 
engraver  to  the  Society  of  Antiquaries,  and  ten 
years  afterwards  to  the  Royal  Society.  He  assisted 
in  the  production  of  Stuart's 'Athens,'  and  engraved 
several  good  portraits  of  eminent  men.  He  died 
in  London  in  1802.    Among  his  other  works  were: 

Captain  Cook ;  after  Hodges. 

Lady  Stanhope,  as  the  Fair  Penitent ;  after  B.  Wilson. 

Lord  Camden ;  after  Reynolds. 

Orestes  and  Pylades  before  Iphigenia ;  after  West. 

The  Field  of  the  Cloth  of  Gold :  the  Interview  between 

Henry   VIII.  and    Francis  I. ;  after  the  picture  at 

Hampton  Court. 

BASIRE,  James,  a  son  of  the  elder  painter  of 
the  same  name,  was  bom  in  1769,  and  followed 
his  father's  profession.  He  engraved  many  of  the 
architectural  plates  in  John  Carter's  works  on 
'  The  English  Cathedrals.'  He  was  engraver  to 
the  Royal  Society  and  the  Society  of  Antiquaries 
He  died  at  Chigwell  'Wells  in  1822.  His  son 
James  Basire,  born  in  1796,  was  likewise  engraver 
to  the  Society  of  Antiquaries,  and  assisted  in  many 
of  Richard  Gough's  architectural  works.  He  died 
in  London  in  1869. 

BASSANO.     See  Ponte. 

BASSANO,  Cesare,  a  painter  and  engraver,  was 
born  at  Milan  about  the  year  1584.  We  have  no 
account  of  his  works  as  a  painter,  but  he  engraved 
the  following  plates : 

Portrait  of  Gaspar  Assellius. 

A  Funeral  Frontispiece  of  Francesco  Piccolomini. 

The  Nativity. 

BASSE,  Martin.     See  Bas. 
BASSELLI,  Daniello,  is  mentioned  by  Strutt 
as  the  engraver  of  a  print  representing  •  Daniel  in 


the  Lions'  Den,'  after  P.  Caton.     It  is  etched  and 
retouched  with  the  graver  in  a  very  slight  style. 

BASSEN,  Bartelmees  van,  painter  and  archi- 
tect, flourished  from  1613  to  1650.  He  painted  at 
Delft,  at  the  Hague,  and  in  England.  Neither  the 
date  of  his  birth  nor  that  of  his  death  is  recorded. 
He  was  a  Flemish  painter  of  the  interiors  of 
churches  and  other  public  buildings,  which  he 
executed  in  a  very  skilful  manner,  both  with  re- 
gard to  perspective  and  lively  colouring.  The 
figures  in  his  pictures  were  frequently  executed 
by  eminent  painters  of  his  day,  to  whom  he  re- 
turned the  compliment  by  supplying  their  archi- 
tectural wants.     Among  his  works  are  : 

Berlin.  Museum.  Interior   of  a  Church  ;   siijned  B. 

VAN  Bassen,    16:24,   and   undtr- 

neath  F.  Franck  FiorEAViT. 
„  „  Interior  of  a  room — withfi/ures. 

Copenhagen.   Gallery.  View  of  a  Church,  B.  van  Bassen, 

162.S. 
„  „  An  Interior. 

Darmstadt.      Gallery.  Interior  of  a  Room  with  figures,  B. 

T.  Bas.sen. 
Hague.  Museum.  Interior  of    a  Church  ;  signed  B. 

VAN  Bassen,  1626. 

BASSEPORTE,  Madeleine  Fban(;:oise,  tlie 
daughter  of  a  wine-merchant,  was  born  in  Paris 
in  1701.  She  was  a  pupil  of  Paul  Ponce  Antoine 
Robert,  and  afterwards  of  Charles  Aubriet,  whom 
she  succeeded  in  1741  as  miniature  painter  to  the 
king.  She  taught  the  daughters  of  Louis  XV., 
and  executed  a  large  number  of  water-colour 
drawings  of  animals,  plants,  and  flowers,  many 
of  which  are  in  the  library  of  the  Jardin  des 
Plantes.  She  engraved  some  plates  for  the  Crozat 
Collection  and  othe"rs.     We  have  by  her : 

The  Martyrdom  of  St.  Fidelio  de    Sigmaringa;    after 

P.  P.  Robert  de  Seri. 
Diana  and   Endymion ;    after  a  design  of  Sebastiano 

Conca. 

There  are  also  three  books  of  flowers,  drawn 
from  nature,  by  her,  and  engraved  by  Avril.  Mile. 
Basseporte  died  at  the  Jardin  du  Roi  in  Paris  in 
1780. 

BASSETTI,  Marco  Antonio,  was  born  at 
Verona  in  1588,  and  was  a  scholar  of  Felice  Ricci. 
He  afterwards  visited  Venice,  and  studied  the 
works  of  the  excellent  colourists  of  that  school, 
particularly  Tintoretto,  whose  style  he  preferred. 
On  leaving  Venice  he  went  to  Rome,  where  he 
remained  for  a  considerable  time.  On  his  return 
to  Verona  he  was  employed  in  painting  some  pic- 
tures for  the  public  edifices  in  that  city.  For  the 
church  of  San  Tommaso  he  painted  a  picture  of 
'  St.  Peter  and  other  Saints,'  and  for  Sant'  Anastasia, 
the  'Coronation  of  the  Virgin.'  By  these  and  other 
works,  particularly  specified  by  Ridolfi.he  acquired 
reputation  as  an  eminent  historical  painter,  but  he 
was  cut  off  in  the  prime  of  life  by  the  plague 
which  visited  Verona  in  1630.  His  works  were 
highly  prized,  but  he  lei^  very  few,  as  his  maxim 
was,  that  painting  ought  not  to  be  pursued  by 
journeymen  as  a  mechanic  art,  but  with  the  leisure 
that  is  bestowed  on  literature  for  the  sake  of  the 
pleasure  it  affords.  In  the  Munich  Gallery  there 
is  a  '  Martyrdom  of  St.  Vitus,'  by  him. 

BASSI,  Antonio.  Several  of  the  works  of  this 
painter  are  mentioned  in  descriptions  of  the  pic- 
tures and  sculpture  of  Ferrara,  of  which  city  he 
was  a  native.  In  the  church  of  San  Giovanni 
Battista  were  two  pictures  by  him,  one  represent- 
ing the   '  Holy   Family  reposing  in   Egypt,'  the 

93 


A  BIOGRAPHICAL  DICTIONARY  OF 


other,  'Our  Saviour  and  the  Samaritan  Woman;' 
and  in  the  church  of  San  Glemente  -was  the  '  Virgin 
Mary,  St.  Anne,  and  St.  Joachim.'    He  died  in  1782. 

BASSI,  Francesco,  was  born  at  Bologna  in 
1652  (?),  and  was,  it  is  said,  a  scholar  of  Lorenzo 
PasinelU.  According  to  other  authorities  he  was 
a  scholar  of  Cesare  Gennari  and  of  Guercino.  He 
painted  numerous  pictures  in  the  public  edifices  at 
Bologna,  and  also  worked  at  Florence.  He  died 
in  1732  (?).  He  was  distinguished  as  a  copyist 
and  imitator  of  Guercino. 

BASSI,  Francesco  Maria,  '  the  elder,'  was  born 
at  Cremona  in  1642.  He  acquired  the  name  of  '  II 
Cremonese  dei  Paesi,'  from  his  eminence  in  paint- 
ing landscapes,  which  he  touched  with  great  spirit, 
and  at  the  same  time  sufiBciently  finished.  He 
decorated  them  with  figures  and  animals,  tolerably 
drawn,  and  neatly  painted.  I'he  private  collec- 
tions at  Venice  possess  many  of  his  pictures.  He 
died  about  the  year  1700.  His  nephew,  Francesco 
Maria,  'the  younger,' who  studied  under  him,  was 
a  painter  of  no  great  note.     He  worked  till  1750. 

BAST,  Dominique  de,  born  at  Ghent  in 
1782,  was  an  amateur  painter  of  landscapes  and 
cattle,  and  also  of  marine  subjects,  in  which  he 
was  considered  to  excel,  in  consequence  of  his 
having  made  many  voyages  by  sea  as  a  merchant. 
His  pictures  are  chiefly  to  be  seen  in  Ghent  in 
private  collections. 

BASTARD,  a  painter,  executed  about  the  end 
of  the  17th  century  a  large  picture,  not  without 
merit,  of  '  Our  Lord  served  by  Angels  in  the 
Desert,'  for  the  Jesuits'  College  of  Palma,  the 
capital  of  the  island  of  Majorca.  No  other  record 
of  his  work  or  life  has  been  preserved. 

BASTAKO,  GiDSEPPE  del.     See  Puglia. 

BASTARUOLO,  II.    See  Mazzuoli,  Giuseppe. 

BASTIANI,  Lazzabo,  a  Venetian  artist,  lived  in 
the  latter  half  of  the  15th  century.  His  early 
pictures  show  his  Paduan  education.  He  was  an 
imitator  of  Vivarini.  In  1470,  he  was  an  honoured 
member  of  the  College  of  San  Girolamo,  Venice  ; 
and  in  1508  was  chosen  by  Bellini  to  value 
Giorgione's  frescoes ;  he  also  received  the  com- 
mission to  paint  the  Portraits  of  the  Doges,  in  the 
Hall  of  the  Twenty.  The  dates  of  Bastiani's 
birth  and  death  are  unknown.  He  did  not  paint 
much  after  1490.  The  following  are  some  of  his 
best  works : 

Bergamo.  Lochis  Car-  \  Coronation  of  the  Virgin  (painted 

rara  Gal.  f     in  1490). 
Venice.      Academy.      The  Nativity  (painted  in  1490), 
,>  „  St.  Cenofrio  on  his  tree  (painted  in 

1490). 
»  „  Gift  of  the  Eelic  (painted  for  the 

scuola  of  San  Giovanni  I^vantjel- 
ista). 
„        Correr  Mus.  The  Annunciation. 
„         Sant'Antonio. The     Entombment     (his     earliest 
known  \cork). 
Vienna.  Belvedere.       The  Glorification  of  St.  Venaranda 
(mitch  damaged). 
BASTIANINO.     See  Filippi 
BASTIEN-LEPAGE,  Jules,  painter,  was  bom 
at  Damvillers,  Lorraine,  November  1,  1850.     His 
parents  were  poor,  and  in  his  early  manhood  he 
had  a  hard  struggle  for  existence.     He  began  life 
as  a  government  clerk  in  his  native  district,  but  at 
nineteen  quitted   the  desk,  and  coming  to  Paris, 
entered  Cabeinel's  atelier.     Associated  as  his  name 
now  is  with  an  art  essentially  actual  and  realistic, 
It   IS  curious   to   find   him  making   his   debut   in 
pseudo-pastoral  in  18th  century  taste.     One  of  his 
94 


earliest  recorded  works  is  '  Women  in  a  wood 
attacked  by  Cupids,'  and  in  1874  he  exhibited  at 
the  Salon  a  peasant  girl  surrounded  by  piping 
Cupids,  together  with  his  first  notable  work,  '  Le 
Portrait  du  Grandpfere.'  The  following  year  was 
marked  by  the  production  of  one  of  his  most  pathetic 
and  masterly  studies  of  humble  life,  'La  Petite 
Communiante.'  In  this  same  year  he  competed  for 
the  '  prix  de  Rome '  with  a  remarkable  work,  '  Les 
Bergers '  ('  The  Angels  appearing  to  the  Shep- 
herds ').  The  art  section  of  the  Academy  awarded 
it  the  prize,  but  their  decision  was  overruled  by 
the  majority  of  the  Council.  The  disappointment, 
though  severe,  did  him  good  service.  An  outcry 
was  raised  against  the  injustice  of  the  reversal,  and 
Bastien-Lepage'snamebecamewell  known  through- 
out the  country.  He  himself  used  to  assert  that 
this  was  the  starting-point  of  his  career.  For  the 
remaining  years  of  his  life  he  was  a  prominent 
figure  in  the  French  art  world,  and  became  well 
known  in  this  country  as  an  exponent  of  the  tra- 
ditions of  Millet  and  Courbet,  modified  by  his  own 
vigorous  individuality.  He  is  said  to  have  expressed 
an  ambition  to  paint  a  cycle  of  rustic  subjects, 
setting  forth  the  chief  events  of  peasant  Ufe  in 
childhood,  maturity,  and  old  age,  and  such  pictures 
as  'Les  Foins,'  'La  Saison  d  Octobre,'  '  Le  Men- 
diant,'  and  '  Pauvre  Fauvette '  may  be  taken  as 
links  in  the  sequence.  His  '  Joan  of  Arc '  of  1880, 
in  which,  discarding  convention,  he  represents  his 
heroine  as  a  poor  and  even  squalid  peasant  girl, 
glorified  by  a  mystic  spiritual  grandeur,  may  be 
said  to  summarize  his  artistic  idea.  He  died  in 
Paris  of  cancer  of  the  stomach,  at  the  early  age  of 
thirty-six,  December  3,  1884.  Besides  the  works 
above  mentioned,  the  following  are  remarkable : 

The  Wood-Cutt«r. 

My  Parents. 

Kustic  Coiu^tship. 

Portrait  of  the  Prince  of  Wales. 

,,       ,,  Madame  Sarah  Bernhardt. 

„      „  M.  Albert  Wolf,  of  the  Paris  '  Figaro." 

(See  '  Bastien-Lepage,'  by  Theuriet,  London,  1892.) 

BASTIER  DE  BEZ,  Jean  Joseph,  French  land- 
scape painter,  was  born  at  Le  Vigan  (Gard)  in 
1780.  He  commenced  life  as  a  money-changer, 
but  afterwards  became  a  pupil  of  Watelet,  and 
painted  a  large  number  of  views  in  Italy  and 
France.     He  died  about  1845. 

BASTON,  Thomas,  an  English  painter  of  sea- 
pieces  and  shipping,  flourished  about  the  year 
1721.  Several  of  his  pictures  were  engraved  by 
Kirkall,  Harris,  and  others.  He  etched  a  few 
plates  from  his  own  designs ;  among  them  is  a 
print  representing  the  '  Royal  Anne,'  with  other 
ships. 

BATEMAN,  James,  was  born  in  London  in  1814, 
and  at  first  starting  in  life  was  placed  with  a 
painter  on  glass.  Though  very  fond  of  art,  this 
branch  was  not  to  his  taste.  He  soon  gave  it  up. 
and  accepted  a  situation  as  clerk,  which  he  held 
till  1837,  in  which  year  he  received  an  offer  from 
two  gentlemen,  who  agreed  to  take  all  the  pictures 
he  produced  in  the  first  year,  at  the  same  time 
allowing  him  £100.  He  usually  painted  animals 
and  domestic  subjects,  with  much  humour.  He 
first  exhibited  at  the  British  Institution  in  1840, 
and  at  the  Royal  Academy  in  the  following  year, 
continuing  to  do  so  until  his  death,  in  March  1849. 

BATHEM.     See  Battem. 

BATLEY,  an   English   engraver  in  mezzotint, 


POMPEO  BATTONI 


Anderson  photo\ 


[Brera  Gallery,  Milan 


THE  HOLY   FAMILY 


PAINTERS  AND  ENGRAVERS. 


flourished  about  the  year  1770.     He  was  chiefly 
employed  in  engraving  portraits. 

BATONI,  PoMPEG  GiROLAMO,  (or  Battoni,)  who 
was  born  at  Lucca  in  1708,  at  first  followed  the 
profession  of  his  father,  who  was  a  goldsmith  ;  he 
was  afterwards  sent  to  Rome  to  study  painting 
under  Conca  and  Masucci,  but  his  chief  lessons 
in  art  were  derived  from  study  of  the  works  of 
Raphael.  A  peculiar  grace  and  agreeableness,  par- 
ticularly about  his  heads,  rendered  his  pictures 
exceedingly  popular,  and  his  works  were  held  in 
considerable  estimation  all  over  Europe.  It  was 
fortunate  for  the  reputation  and  success  of  Ba- 
toni,  that  he  lived  at  a  period  when  the  arts  had 
fallen  to  a  very  'ow  ebb  in  Italy.  Mengs,  his  only 
rival,  and  his  superior,  was  chiefly  employed  in 
Spain  ;  Batoni  was  thus  the  only  painter  of  his  time 
at  Rome  that  possessed  the  least  pretension  to  merit, 
and  he  consequently  met  with  great  employment. 
He  was  more  occupied  in  painting  portraits  than 
historical  works,  although  there  are  several  of  his 
pictures  in  the  public  edifices  at  Rome.  He  painted 
the  portraits  of  no  less  than  twenty-two  sovereigTis. 
Batoni  died  at  Rome  in  1787.  The  following  are 
among  his  best  works : 


Berlin.       Museum. 
Dresden.    Gallery. 

Florence.    UJizi. 


Frankfort.  Stddel. 
Milan.  Brera. 
Paris.  Louvre. 
Borne.      Corsini  Pal. 

„     S.  Maria  Mag. 

„        S.  Maria  rf'  ) 

Angeli.    \ 

Vienna.     Belvedere. 


Cupid  and  Psyche  (signed  and  dated 

1756). 
Penitent  Magdalene  {copied,  in  1757, 

by  Dietrich  for  Frederick  JI.,  King 

of  Prussia). 
And  others. 
Education  of  Achilles. 
Achilles  at  the  Court  of  Lycomedes. 
His  own  Portrait. 

The  five  Arts  (signed  and  dated  1740). 
Madonna  and  Saints. 
The  Virgin. 
Nativity. 
Annunciation. 

Fall  of  Simon  Magus. 

Return  of  the  Prodigal  Son. 
„  „  Portrait  of  Joseph  II. 

A  Life  of  Batoni,  by  Boni,  was  published  at 
Rome  in  1787. 

BATTAGLIE,  Michelangelo  delle.  See 
Cerquozzi. 

BATTEM,  Gerhard  van,  (or  Bathem,)  a  Dutch 
landscape  painter,  who  flourished  about  the  year 
1650,  and  died  at  Amsterdam  in  1690.  It  is  sup- 
posed that  he  was  a  pupil  of  Rembrandt,  as  some 
of  his  pictures  bear  a  resemblance  to  that  master's 
manner.  His  subjects  are  mountainous  landscapes 
with  banditti,  travellers,  and  stag-hunts. 

BATTISTELLO.     See  Caracciolo. 

BATTY,  Lieutenant-Colonel  Robert,  the  son 
of  Dr.  Batty  of  Hastings,  was  bom  about  1789. 
He  was  at  one  time  in  the  Grenadier  Guards,  with 
which  regiment  he  served  in  the  campaign  of  the 
Western  Pyrenees,  and  at  Waterloo.  He  was  an 
amateur  artist  of  considerable  merit.  He  published 
in  1822  'French  Scenery;'  in  1823  'German 
Scenery  '  and  '  Welsh  Scenery  ; '  in  1826  '  Scenery 
of  the  Rhine.  Belgium,  and  Holland,'  all  of  which 
have  been  much  esteemed  ;  in  1828  'Hanoverian, 
Saxon,  and  Danish  Scenery  ; '  and  in  1832  '  Select 
Views  of  the  principal  Cities  of  Europe.'  He  died 
in  London  in  1848. 

BAUDESSON,  Nicolas,  a  French  flower  painter, 
was  born  about  1611,  and  received  into  the 
Academy  in  1671.  He  died  at  Paris  in  1680,  leav- 
ing_  a  eon,  Jean  Feanqois  Baudesson,  born  in 
Paris  in  1640,  who  was  also  a  painter  of  flowers 


and  fruit.     He  became  a  member  of  the  Academy 
in  1689,  and  died  in  Paris  in  1713. 

BAUDET,  Etienne,  an  eminent  French  en- 
graver, was  born  at  Vineuil,  in  the  department  of 
Loir-et-Cher,  about  1636.  He  wa-s  a  pupil  of 
Sebastien  Bourdon  and  Cornelis  Bloemaert,  and 
afterwards  went  to  Rome,  and  appears  to  have 
adopted  the  manner  of  Cornelis  Bloemaert  in  his 
earliest  plates,  which  are  executed  entirely  with 
the  graver.  He  afterwards  on  his  return  to  Paris 
altered  his  manner,  and  calling  in  the  assistance 
of  the  point,  he  executed  his  best  prints,  which 
bear  a  strong  resemblance  to  the  manner  of  Jean 
Baptiste  Poilly.  He  made  an  excellent  choice  in 
the  subjects  of  his  plates,  which  are  from  the  works 
of  some  of  the  most  distinguished  masters  of  Italy 
and  France.  He  was  a  member  of  the  Roj'al 
Academy  of  Paris,  in  which  city  he  died  in  1711. 
The  following  are  his  principal  works : 

PORTRAITS. 
Pope  Clement  IX. 
Charles  Perrault;  afler  C.  Le  Briiii. 
Louisa,  Duchess  of  Portsmouth,  as  Venus,  caressing  a 

Dove;  after  H.  Gaiciir. 
Bust  of  the  Emperor  Adrian,  from  the  antique. 
Bust  of  a  Boman  Lady. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  Virgin  teaching  the  Infant  Jesus  to  read  ;  afler 

Albani. 
The  Woman  of  Samaria ;  after  the  same. 
Four  plates  of  the  Loves  of  Venus  and  Adonis ;  afler 

the  same  ;  engraved  at  Rome  in  1672. 
Four  circular  prints  of  the  FoM  Elements  ;  after  the 

same  ;  dated  1695. 
The  Nativity  ;  aftef  J.  Blanchard. 
The  Holy  Family ;  after  S.  Bourdon  ;   round. 
Six  Landscapes  ;  after  the  same. 
The  dead  Christ  on  the  Knees  of  the  Virgin  Mary  ;  after 

AnHibale  Carracci. 
The  Stoning  of  Stephen  ;  after  the  same.     1677. 
Adam  and  Eve  ;  after  Domenichino  ;  very  fine. 
Six — Of  the   great   Staircase  at  Versailles  ;  after  Le 

BruH  ;  that  of  the  ceiling  is  engraved  by  C.  Sim- 

moneau. 
The  Communion  of  the  Primitive  Christians ;  after  G. 

de  la  Fosse. 
Moses  treading  on  the  Crown  of  Pharaoh ;  after  N. 

Poussiv. 
Moses  striking  the  Rock  ;  after  the  same. 
The  Worshipping  of  the  Golden  Calf ;  after  the  same. 
The  Holy  Family  ;  after  the  same. 
Venus  reposing  ;  after  the  same  ;  dated  1666. 
Foiu:  Grand  Landscapes  ;  after  the  same ;  dedicated  to 

the  Prmce  of  Cond(5.     Dated  1684. 
Foiu:  other  Grand  Landscapes ;  after  the  same ;  dedi- 
cated to  the  King  of  France. 
The  Tribute  Money  ;  after  Valentin. 

BAUDITZ  (or  Baudies).     See  Pauditz. 

BAUDOUIN,  Pierre  Antoine,  the  son  of  Michel 
Baudodin,  an  engraver  of  little  note  (who  died  in 
1754),  was  born  in  Paris  in  1723.  He  was  a  pupil 
and  imitator  of  Boucher,  whose  younger  daughter 
he  married  in  1758,  and  through  whose  influence 
he  was  elected  an  Academician  in  1763,  as  a 
miniature  painter,  on  which  occasion  he  presented 
his  drawing  of  '  Hyperides  pleading  the  cause  of 
Phryne  before  the  Areopagus,'  now  in  the  Louvre. 
Baudouin  executed  idyllic  and  erotic  subjects  in 
water-colours  and  crayons,  but  painted  but  seldom 
in  oil.     He  died  in  Paris  in  1769. 

BAUDOUIN,  Simon  Reni?;.  This  amateur  en- 
graver, who  was  born  in  1723,  was  an  oflBcer  in 
the  French  Guards,  and  amused  himself  with  the 
point.  He  etched  a  set  of  plates  from  his  own 
designs,  representing  the  military  exercise  of  the 

95 


A  BIOGRAPHICAL  DICTIONARY  OF 


French  infantry,  he  also  engraved  some  prints 
of  battles,  after  the  pictures  of  Charles  Parrocel, 
and  a  set  of  email  landscapes,  after  MicLau  and 
others. 

BAUDRY.  Paul  Jacqoes  Amt.  painter,  was 
born,  of  humbl.-  parentage,  at  La  Roche-sur-Yon, 
Vendue,  November  7,  1828.  He  first  studied  under 
one  Sartoris,  at  La  Roche,  and  was  nftersvards  sent 
to  Paris  with  an  allowance  from  his  native  city. 
In  Paris  he  became  the  pupil  of  Drolling,  and  in 
1850  won  the  Gran  1  Pris  de  Rome  with  a  '  Zenobia 
found  on  the  Banks  of  the  Araxes.'  Four  years 
in  Rome  were  spent  in  the  study  of  Michelangelo, 
Raphael,  Titian,  and  Correggio,  from  each  of  whom 
he  endeavoured  to  take  some  characterisiic  quality. 
During  his  stay  in  Italy  I  e  sent  pictures  to  the 
Saion  which  attracted  much  attent  on,  and  this 
success  continued  after  his  return  to  Paris.  It  was 
in  qu  isi-historical,  decorative  painting,  in  which 
his  tine  sense  of  balance  and  his  pleasant  colour 
served  him  well,  that  he  succeeded  best,  and  so, 
about  1865,  he  was  invited  to  take  part  in  the 
decoration  of  the  new  Opera.  In  preparation  for 
this  task  he  revisited  Italy,  made  a  series  of  partial 
copies  from  Buonarroti's  frescoes  in  the  Sistine 
Chapel,  and  studied  Raphael  at  the  Stanze.  In 
1867  he  came  to  England,  and  finished  a  series  of 
copies  from  Raphael's  cartoons.  The  actual  decora- 
tion of  the  Opera /oyer  absorbed  Baudry's  energies 
for  Some  twelve  years.  The  subjects  are  single 
figures  of  the  Muses,  Polymnia  excepted,  and 
various  scenes  from  mythology,  legend,  and  even 
biblical  history.  Besides  thes  •  decorations,  Baudry 
painted  much  for  private  patrons,  and  at  the  Salon 
of  1881  he  obtained  the  medaille  d'honneiir  for  his 
'  Glorification  de  la  Loi.'  a  cei.ing  for  the  Cour  de 
Cassation.  Througliout  h  s  career  he  combined 
portrait  painting  with  his  decorative  work.  Among 
his  portraits,  the  best,  peihaps,  are  those  of  Beul6 
(1857),  Baron  Dupin  (1860),  Charles  Gamier  (1868), 
and  Edmond  About  (1871).  In  1870  Baudry  was 
elected  a  member  of  the  Institute.  He  died 
January  7,  1886. 

BAUDUIN,  Akton   Frans.     See  Boudewtns. 

BAUER,  Ferdinand  Lucas,  who  was  bom  at 
Feldsburg,  in  Austria,  in  1760,  came  to  England 
in  1800,  and  obtained  celebrity  as  a  draughtsman 
for  the  Royal  Botanical  Society,  and  for  various 
botanical  publications.  On  a  joumey  round  the 
world  he  staj-ed  some  time  at  Botany  Bay,  and 
made  many  valuable  drawings.  He  returned  to 
Austria  in  1812,  and  died  at  Hietzing,  near  Vienna, 
in  1826.  A  large  collection  of  his  drawings  may 
be  consulted  in  the  British  Museum. 

BAUER.  JoH.  WiLH.     See  Baur. 

BAUGIN,  J.,  a  French  engraver,  who  flourished 
about  the  year  1660.  He  engraved  several  por- 
traits, among  which  is  that  of  H.  de  la  Mothe. 

BAUGIN,  LUBIS,  was  born  at  Pithiviers  (Loiret) 
about  1610.  He  was  a  member  of  the  Corporation 
of  Master-Painters,  and  was  admitted  into  the  Royal 
Academy  of  Painting  in  1651.  He  executed  many 
designs  for  tapestry.  He  studied  and  imitated 
Parmigiano  and  Guido.  His  contemporaries  called 
him  '  Le  petit  Guide."  The  '  Holy  Family,'  by  him, 
in  the  Louvre,  has  been  engraved  by  F.  de  Poilly. 
He  died  in  Paris  in  1663. 

BA  L'GN  IE  r,  C,  a  well-known  Belgian  draughts- 
man on  stone,  who  practised  chietiy  in  Paris,  and 
whose  portraits  were  especially  noteworthy.  He 
died  at  Sfevres,  July  3,  1886. 

BAUMANN,  Adolph,  who  was  bom  in  1829, 
painted   historical  pictures  in   oil   and  fresco   at 
96 


Munich,  where  he  died  in  1865.     A  '  Madonna  and 
Child,'  by  him,  is  in  the  Pinakothek. 

BAUMGARTNER,  Johann,  known  by  the  name 
of  Pater  Norbert,  was  bom  about  the  year  1717. 
He  executed  a  number  of  pen-and-ink  drawings,  as 
well  as  historical  paintings.  He  was  a  member  of 
the  Academy  of  Vieima,  in  which  city  he  died  in 
1773.  P.  Campana  engraved  his  picture  at  Rome 
of  '  St.  Dominic  kissing  the  hand  of  the  Child 
Jesus.'     There  also  exist  by  him : 

Bologna.    Capuchin  Mon.    The  Magdalene. 
Presburg,  Academi/.  Holy  Family. 

Vienna.      Capuchin  Mon.    Mary  when  a  Child  before  the 
High  Priest. 
„  „  Death  of  St.  Joseph. 

BAUR,  Johann  Wilhelm,  (or  Bauer,)  a  painter 
and  engraver,  was  born  at  Strasburg  in  1600.  He 
studied  painting  under  Friedrich  Brentel,  and  it 
was  not  long  before  he  surpassed  his  instructor. 
On  leaving  that  master  he  went  to  Italy,  and  spent 
some  years  at  Rome,  where  he  painted  views  of 
that  city  and  environs,  with  small  figures,  neatly 
touched,  which  were  greatly  admired.  The  Prince 
Giustiniani  favoured  him  with  his  protection ;  and 
he  was  also  patronized  by  the  Duke  of  Bracciano, 
who  allotted  him  apartments  in  his  palace. 
In  1637  Baur  left  Rome,  and  went  to  Venice, 
where  his  works  were  equally  admired.  He  after- 
wards visited  Vienna,  and  was  taken  into  the 
emploj-ment  of  the  Emperor  Ferdinand  III.,  in 
whose  ser\-ice  he  died,  at  Vienna,  in  1642.  His 
pencil  is  very  neat  and  spirited,  and  his  colouring 
warm  and  glowing.  It  is  to  be  regretted  that  he 
was  not  more  correct  in  his  design.  As  an  en- 
tjraver,  he  acquired  considerable  celebrity,  and 
executed  a  great  number  of  plates  from  his  own 
designs,  the  best  of  which  are  those  taken  from 
the  '  Metamorphoses '  of  Ovid.  They  are  sUghtly 
etched,  and  finished  with  the  graver.  They  are 
very  spirited,  and  resemble  the  manner  of  Callot. 
He  marked  his  plates  sometimes  with  his  \W} 
name,  and  sometimes  with  the  cipher  an-  ViJ- 
nexed.     The  following  are  his  principal  works : 

Portrait  of  Don  Paolo  Giordano  U.,  Orsino,  Dnca  di 

Bracciano  ;  oval ;  dated  1636  ;  scarce. 
A  set  of  Habiliments  of  difierent  Nations,  with  his 

Portrait ;  eighteen  prints. 
A  set  of  Battles ;  entitled  Caprici  di  tarie  battaglie ; 

fifteen  prints. 
Another  set  of  Battles ;  fourteen  prints,  with  the  title. 
A  set  of  Landscapes,  among  which  are  the  Four  Ble- 

ments ;  twelve  prints. 
Twenty  of  Battles,  for  Strada's  History  of  the  Belgic 

War. 
The  Metamorphoses  of  Ovid ;  one  hundred  and  fifty 

prints,  published  at  Vienna,  in  1641. 

BAUR,  NicoLAAS,  who  was  bom  at  Harlingen 
in  1767,  was  the  son  of  Hendricus  Antonius  Baur. 
h  portrait  painter  (bom  1736,  died  1817).  He 
painted  landscapes  and  views  of  cities,  and  many 
houses  in  Holland  are  embellished  by  his  works. 
He  also  painted  moonlight  and  winter  scenes ;  and 
was  particularly  successful  in  marine  subjects.  He 
is  considered  one  of  the  best  of  the  later  Dutch 
marine  painters.     He  died  at  Harlingen  in  1820. 

BAUSA,  Gregorino,  a  Spanish  painter,  bom  at 
Mallorca,  a  town  in  the  vicinity  of  Valencia,  in 
1596.  He  was  a  scholar  of  Francisco  Ribalta,  and 
was  a  reputable  painter  of  history.  The  principal 
altar-piece  in  the  church  of  St.  Philip  of  the 
Carmelites  at  A'alencia,  representing  the  Martyr- 
dom of  that  Saint,  is  by  Bausa.  There  are  also 
several  pictures  by  him  in  the  monastery  of  Los 
Trinitarios  Calzados  in  that  city.   He  died  in  1656. 


PAINTERS  AND  ENGRAVERS. 


BADSB,  JoHANN  Fbiedbich,  a  German  engraver, 
was  bom  at  Halle,  in  Saxony,  in  1738.  He  is 
stated  to  have  learned  the  art  of  engraving  without 
the  instruction  of  a  master,  and  to  have  formed  his 
manner  by  an  imitation  of  the  admirable  prints  of 
J.  G.  Wille.  He  died  at  Weimar  in  1814.  His 
works,  which  are  very  nmnerous,  are  chiefly  exe- 
cuted with  the  graver,  which  he  handled  with 
great  purity  and  firmness.  The  following  are  his 
principal  plates,  except  his  portraits,  which  are 
chiefly  of  German  characters  of  little  celebrity : 

Damon  and  Musidora,  subject  from  Thomson ;   after 

Bach. 
A  Moonlight  Scene  ;  after  the  same. 
The  Magdalene ;  from  a  drawing  by  Bach,  after  Batoni. 
Three  Apostles  ;  after  Caravaggio  ;  etching. 
Venus  and  Cupid;  after  Carlo  Cignani. 
Michael  Ehrlich ;  after  B.  Benner ;  a  mezzotint. 
The  Repentance  of  St.  Peter ;  after  Dietrich. 
The  Good  Housewife ;  after  O.  Dou. 
Bust  of  a  Girl ;  after  Greuze. 
Artemisia  ;  after  Guido. 
The  Head  of  Christ ;  after  the  same. 
The  Old  Confidante  ;  after  Kupetsky. 
Cupid  feeling  the  Point  of  an  Arrow ;  after  Mengs. 
Bust  of  a  Girl,  with  a  Basket  of  Roses ;  after  Netscher. 
The  Sacrifice  of  Abraham  ;  after  Oeser. 
La  petite  Rusee  ;  after  Meynolds. 

A  list  of  his  works  may  be  found  in  Nagler  and 
Heineken.  See  also  Dr.  G.  Keil's  '  Katalog  des 
Kupferstichwerkes  von  Johann  Friedrich  Bause,' 
Leipzig,  1849.  His  daughter,  Juliane  Wilhel- 
MINB  Badse,  etched,  with  talent,  a  number  of 
landscapes  after  Kobell,  Both,  and  other  artists. 
She  was  born  in  1768,  and  died  in  1837. 
BAVARESE.  See  Oefele. 
BAVIERA,  a  native  of  Parma,  and  one  of  the 
pupils  of  Raphael.  Of  his  work  nothing  is  known, 
and  details  of  his  relations  with  Sanzio  are  of  the 
scantiest,  but  that  he  was  a  trusted  friend  and  con- 
fidant of  the  master  appears  from  the  fact  that  to 
him  Raphael  gave  the  copper-plates  of  the  en- 
gravings executed  for  him  by  Marc  Antonio,  that 
his  name  figures  as  signatory  to  a  contract  con- 
cluded on  behalf  of  Raphael  in  1515,  and  that 
before  his  death  Raphael  confided  to  his  care  his 
mistress,  the  famous  'Fornarina.'  He  is  further 
mentioned  by  Vasari  as  having  come  to  the  aid  of 
his  fellow-pupil,  Perino  del  Vaga,  when  the  latter 
was  rendered  destitute  by  the  sack  of  Rome  in 
1527. 

BAXAITI.     See  Basaiti. 

BAXTER,  Charles,  an  English  portrait  and 
subject  painter,  was  bom  in  London  in  1809.  He 
commenced  life  as  a  bookbinder,  but  afterwards 
studied  under  Clint.  He  exhibited  at  the  Royal 
Academy,  where  his  first  picture  appeared  in  1834, 
and  at  the  Society  of  British  Artists,  of  which  he 
became  a  member  in  1842.  His  first  works  were 
miniatures  and  portraits  in  oil,  but  his  greatest 
success  was  in  fancy  portraits.  He  died  at  Lew- 
ieham  in  1879.     Amongst  his  works  are: 

The  Dream  of  Love. 

Olivia  and  Sophia  (London  Exhibition,  1862). 

Peasant  Girl  of  Chioggia.     1869. 

Rich  and  rare  were  the  gems  she  wore.    1872. 

BAXTER,  George,  a  wood-engraver,  who  was 
bom  at  Lewes  in  1804,  went  in  1827  to  London, 
where  he  became  celebrated  for  a  method  of  print- 
ing in  oil-colours,  which  he  placed  on  the  market 
in  1834.  His  best  works  were  a  copy  of  'The 
Descent  from  the  Cross,'  by  Rubens;  'The  Open- 
ing of  the  First  Parliament  of  Queen  Victoria,'  for 
which  he  was  awarded  the  Austrian  gold  medal ;  I 
H 


the  'Queen's  Coronation,  and  a  miniature  of  'The 
Baptism  of  the  Prince  of  Wales.'  He  once  ex- 
hibited in  the  Royal  Academy.  He  died  at 
Sydenham  in  1867. 

BAXTER,  Thomas,  a  native  of  Worcester,  bom 
in  1782,  excelled  in  fruit  and  flower  pieces,  which 
ne  painted  in  water-colours.  He  also  assisted  John 
Britton  in  his  work  on  Salisbury  Cathedral.  He 
died  in  London  in  1821. 

BAY.     See  Debat. 

BAYER,  August  von,  who  was  bom  at  Ror- 
schach in  1804,  first  studied  architecture  under 
Weinbrenner,  at  Carlsruhe.  He  visited  Munich 
and  Paris,  and  subsequently  devoted  himself  to 
painting  interiors  of  churches,  chapels,  cloisters, 
halls,  &c.,  in  which  he  produced  very  happy 
efiEects.  In  1853  he  was  appointed  conservator  of 
the  monuments  and  antiquities  in  the  Grand  Duchy 
of  Baden,  and  died  at  Carlsruhe  in  1873  (or  1875). 
Among  his  best  works  are  : 

The  interior  of  the  Frauenkirche  at  Munich. 

A  portion  of  the  Cathedral  at  Chur. 

The  Convent  of  Maulbronn. 

The  Organ  Player  {lithographed  by  Fr.  Sohe). 

An  interior  of  a  Cloister  {lithographed  by  Fr.  Hohe) . 

There  are  four  works  by  him  in  the  Pinakothek 
at  Munich. 

BAYER,  Hieronymus  von,  born  at  Bauris,  Salz- 
burg, in  1792,  was  an  excellent  etcher,  a  master 
of  the  University  at  Landshut  in  1809,  and  subse- 
quently a  professor,  and  a  member  of  Council  at 
the  University  of  Munich.  He  etched  a  large 
number  of  landscapes  of  great  finish. 

BAYER,  Josef,  who  was  bom  at  Vienna  in  1804, 
became  a  painter  of  merit,  but  died  there  when  still 
young,  in  1831.  In  the  Belvedere  there  are  two 
works  by  him — a  '  Portrait  of  a  Boy,'  signed  and 
dated  1829,  and  '  The  Flight  into  Egypt,'  signed 
and  dated  1830. 

BAYEU  Y  SUBIAS,  Francisco,  was  bom  at 
Saragossa  in  1734.  He  was  first  instructed  by 
Luzan,  in  Tarragona,  and  having  gained  the  pre- 
mium at  the  Academy,  he  was  allowed  a  pension, 
to  enable  him  to  visit  Madrid,  where  he  entered 
the  school  of  Gonzales  Velazquez.  His  merit 
attracted  the  notice  of  Raphael  Mengs,  who  recom- 
mended him  to  the  protection  of  Charies  III., 
and  that  monarch  employed  him  in  the  Pardo,  and 
in  the  palaces  at  Aranjuez  and  Madrid,  where  he 
also  painted  several  pictures  for  the  churches.  In 
1766  he  was  received  into  the  Academy  at  Madrid, 
and  in  1788  was  made  painter  to  the  king.  He 
died  at  Madrid  in  1795.  He  etched  a  few  plates. 
The  following  are  a  few  of  his  best  paintings  : 

Madrid.     New  Palace.    The  Conquest  of  Granada. 
I.  „  Apotheosis  of  Hercules. 

The  Fall  of  the  Giants. 
,»  „  And  others. 

„         Museum.         Sacred  and  Genre  pictures  (28). 

Works  by  him  are  to  be  seen  in  the  Carthusians, 
Madrid, — the  '  Life  of  St.  Bruno,'— and  frescoes  in 
the  churches  of  Toledo  and  Saragossa. 

BAYEU  Y  SUBIAS,  Ramon,  was  born  at  Sara- 
gossa in  1746,  and  was  instructed  in  art  by  his 
brother  Francisco.  He  is  principally  to  be  noticed 
as  an  assistant  to  his  brother  in  his  fresco  works. 
He  died  at  Aranjuez  in  1793. 

BAYNES,  James,  a  water-colour  painter,  was 
born  at  Kirkby  Lonsdale  in  1766.  and  early  in  life 
became  a  student  of  the  Royal  Academy.  In  after 
years  he  exhibited  views  in  North  Wales,  and  in 

97 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Norfolk  and  other  English  counties,  frequently 
introducing  cattle.     He  died  in  1837. 

BAYDCO,  JnAN  Bahtista,  was  a  painter  of  some 
repute  at  Valencia,  where  he  was  born  in  1664. 
His  best  works  were  his  pictures  in  the  cloister  of 
the  convent  of  St.  Sebastian,  illustrative  of  the 
'  Life  of  San  Francisco  de  Paula.' 

BAZAN,  Mariana  SILVA.     See  Silva  Bazan. 

BAZICALUVE,  Ebcole,  (or  Bazzicaluve,)  an 
eminent  engraver  of  Pisa,  and  pupil  of  G.  Parigi, 
flourished  about  the  year  1640,  and  became  cas- 
tellan of  the  castle  of  Leghorn.  Bartsoh  describes 
seven  of  his  prints,  and  Brulliot  others  which  had 
escaped  the  notice  of  that  writer.  Of  his  works 
may  be  mentioned  a  '  Triumphal  Procession,'  and 
twelve  landscapes. 

BAZIN,  Charles  Louis,  a  French  painter, 
sculptor,  engraver,  and  lithographer,  was  bom  in 
Paris  in  1802,  where  he  died  in  1859.  He  was  a 
pupil  of  Girodet-Trioson  and  of  Gerard,  after  the 
latter  of  whom  he  engraved  a  portrait  of  Albertine 
de  Stnel,  Duchesse  de  Broglie. 

BAZIN,  Nicolas,  a  French  engraver,  was  born  at 
Troyes,  in  Champagne,  in  1633,  where  he  died  in 
1710.  He  was  a  pupil  of  Claude  Mellan,  and  estab- 
lished himself  in  Paris  as  an  engraver  and  print- 
seller.  He  worked  principally  with  the  graver,  in 
rather  a  stiff,  dry  manner,  and  published  several 
plates,  executed  by  himself  and  others,  chiefly 
engraved  by  the  young  artists  he  employed.  His 
plates  are  portraits  and  historical  subjects,  of  which 
the  following  are  the  principal : 

PORTRAITS. 

Madame  Helyot,  an  abbess  ;  after  his  own  design. 

Madame  Guyon,  a  celebrated  visionary. 

Jean  du  Houssay  de  Chaillot,  a  hermit. 

Father  Emanuel  Magnan. 

Father  Anthony  Verjus,  a  Jesuit ;  after  J.  P.  de  Cany. 

Jean  Crasset,  a  Jesuit ;  after  I>u  Mee. 

St.  Francis  Xavier. 

St.  Ignatius  de  Loyola,  founder  of  the  Jesuits. 

Louis  XrV.,  on  horseback.     1682. 

Maria  Theresa  of  Austria,  wife  of  Louis  XIV. ;   after 

Le  Febure.     1631. 
Louis,  Dauphin  of  France  ;  after  Martin.    1686. 
Frani^ois  Barreme,  arithmetician. 

VABIODS   SUBJECTS. 

St.  Francis  receiving  the  Stigmata  ;  /ifter  Barocd. 

St.  Isabella,  foundress  of  the  Abbey  of  Longchamps; 

after  rhilippe  de  Chaynpague. 
The  Virgin  Mary  suckling  the  Infant  Saviour ;  after 

Correggio. 
Two  Ladies,  one  going  into  a  Bath  ;  after  J.  Dieu. 
St.  Anne  teaching  St.  Elisabeth  to  read  ;  after  Le  Brun. 
St.  Mary,  of  Egypt,  and  St.  Zozima ;  after  the  same. 
St.  Jerome  and  St.  Peter,  two  plates ;  after  Lichery. 
The  Holy  Virgm. 
The  Annunciation. 
Christ  crowned  with  Thorns. 
The  Crucifiiion. 

BAZZANI,  Giuseppe,  was  born  at  Reggio  in 
1701_  (or  1690),  and  was  a  scholar  of  Giovanni 
Canti.  According  to  Lanzi,  he  studied  the  works 
and  imitated  the  style  in  which  Rubens  had 
painted  in  Italy;  at  Mantua  and  in  the  neigh- 
bouring convents  he  executed  many  frescoes  with 
great  spirit  and  freedom.  He  was  director  of  the 
Academy  at  Mantua,  in  which  city  he  died  in  1769. 

BAZZI,  Giovanni  Antonio,  or  de'  BAZZI  (fre- 
quently miscalled  RAZZI,  and  generally  known  as 
'Sodoma'),  was  born  at  Vercelli,  in  Piedmont  in 
1477.  His  father,  Giacomo  de'  Bazzi  (who,  it  has 
been  suggested,  was  a  humble  cadet  of  the  noble 
98 


Piedmontese  house  of  Tizzoni,  since  his  son  in 
later  days  lays  claim  to  that  name),  was  a  shoe- 
maker, who,  coming  from  Briandate,  had  married 
and  settled  in  Vercelli.  Giovanni  Antonio,  his 
eldest  son,  was,  on  November  28,  1490,  at  the  age 
of  thirteen,  apprenticed  for  seven  years  to  a  glass 
painter  from  Casale  of  the  name  of  Martino  Span- 
zotti,  whose  only  known  work  may  be  seen 
(acquired  quite  recently)  in  the  Public  Picture 
Gallery  in  'Turin.  With  this  artist  he  removed  to 
Casale  until  the  end  of  his  articles,  and  his  father 
dying  that  same  year,  he  appears  to  have  finally 
left  home  for  Milan,  where  even  if  not  actually  his 
pupil  he  came  under  the  direct  influence  of  Leo- 
nardo da  Vinci,  and  received  from  that  master 
artistic  impressions  of  such  strength  that,  during 
the  whole  of  his  subsequent  career,  they  are  never 
entirely  absent  from  his  works.  About  the  year 
1500-01  he  came, at  the  invitation  of  certain  Sienese 
merchants  named  Spannocchi,  who  had  agents  in 
Milan,  to  their  city ;  which,  in  spite  of  frequent 
absences,  became  henceforth  his  home  and  the 
scene  of  his  greatest  achievements.  Vasari  com- 
plains that  he  wasted  too  much  of  his  time  on  his 
first  arrival  in  making  drawings  from  the  sculptures, 
then  recently  executed,  by  the  famous  Giacomo 
della  Querela,  especially  those  on  the  celebrated 
Fonte  Gaia  in  the  Piazzo  del  Campo  ;  and  that  this 
influence  was  very  visible  in  his  early  paintings. 
However,  nearly  all  the  works  recorded  as  having 
been  executed  during  this  period  seem  to  have  dis- 
appeared or  perished.  The  most  important  one 
generally  supposed  to  have  originated  at  this  time 
is  the  great  '  Deposition  from  the  Cross,'  painted 
for  the  church  of  St.  Francesco,  and  now  in  the 
Siena  Academy.  Other  smaller  paintings,  which 
probably  belong  to  the  same  period,  exist,  but  upon 
this  point  authorities  difler.  In  1503  he  adorned 
the  refectory  of  the  small  Olivetan  Convent  of 
St.  Anna  in  Creta,  near  Pienza,  with  charming 
frescoes,  the  largest  of  which  is  the  '  Miracle  of 
the  Loaves  and  Fishes,'  in  three  sections.  Here 
his  Lombard  instincts  may  be  seen  struggling  with 
local  Tuscan  influences.  In  1505  he  was  further 
employed  by  the  Mother-Convent  of  Monte  Oliveto 
Maggiore,  near  Chiusure,  to  take  up  the  work  com- 
menced by  Signorelli,  and  to  continue  the  series  of 
'  Scenes  from  the  Life  of  St.  Benedict '  frescoed  in  the 
cloister  there.  There  he  not  only  painted  twenty- 
five  subjects  from  the  Life  of  this  Saint,  but  also 
other  works  in  the  same  medium  in  various  parts  of 
the  Convent.  In  these  frescoes  he  showed,  in  spite 
of  great  inequality  in  execution,  at  the  same  time 
his  unsurpassable  feeling  for  beauty  of  a  most 
exquisite,  even  sensuous  type  ;  his  vigorous  power 
of  portraiture,  and  his  ungovernable  passion  for 
rolhcking  humour  and  jokes  of  every  description. 
This  last  trait  won  him  the  nickname  of  '  U  Mat- 
taccio'  (the  Arch  Fool)  from  the  Olivetan  brethren. 
About  1507  he  was  attracted  to  Rome  among  the 
bevy  of  artists  employed  by  Julius  II.  to  adorn  the 
Vatican  Palace.  There  he  designed  and  executed 
the  ceiling  of  the  Camera  della  Segnatura,  portions 
of  which,  however,  were  by  the  Pope's  orders 
removed  to  make  way  for  other  work  by  Raphael, 
but  of  which  the  centre  panel,  the  decorative 
grotesques,  and  some  of  the  smaller  scenes  still 
remain.  Authorities  differ  as  to  Bazzi's  Roman 
visits,  but  it  is  generally  considered  that,  after 
leaving  for  Siena  about  1510,  he  returned  again  be- 
tween 1513  and  1515  to  execute  for  Agostino  Chigi, 
the  wealthy  Sienese  banker,  the  beautiful  frescoes 


GIOVANNI  ANTONIO  BAZZI 


SODOMA 


Lombardi  photo\ 


iFalazzo  Ftibblico,  Siena 


SAINT  VICTOR 


PAINTERS  AND  ENGRAVERS. 


from  the  '  Life  of  Alexander,'  which  adorn  the  state 
bedroom  in  the  Villa  Faniesina.  Of  these  the  finest 
still  existing  are  'The  Marriage  of  the  Hero  to 
Roxana,'  and  '  The  Family  of  Darius  kneeling  at  his 
feet.'  The  former,  in  spite  of  numerous  faults,  is 
one  of  the  chefs-d'oeuvre  of  the  Italian  Renaissance, 
and  is  almost  unrivalled.  It  is  generally  supposed 
that  in  1517  he  painted  in  tlie  cloister  of  St.  Fran- 
cesco, in  Siena,  that  stupendous,  but  alas  1  cruelly 
injured  'Christ  bound  to  the  Column,'  of  whicli 
but  a  fragment  remains  in  the  Siena  Picture  Gallery. 
In  the  following  year  he  executed,  iu  rivalry  with 
Domenico  Beccafumi  and  Girolamo  del  Pacchia, 
three  scenes  from  the  'Life  of  the  Virgin'  (the 
'  Presentation,'  the  '  Visitation,'  and  the  '  Assump- 
tion'),  and  three  figures  of  Saints  ('Francis  of 
Assisi,'  '  Anthony  of  Padua,'  and  '  Louis  of  Tou- 
louse ')  in  the  Oratory  of  St.  Bernardino  in  Siena  ; 
completing  the  series  fourteen  years  later  (1532) 
with  the  '  Coronation.'  Here  again,  amid  much 
careless  work,  there  are  some  exquisitely  beautiful 
heads  and  figures.  In  that  same  year  he  painted, 
for  two  brothers  of  the  name  of  Arduini,  the  mag- 
nificent panel  of  the  'Adoration  of  the  Magi,' 
now  in  the  Piccolomini  Chapel  in  St.  Agostino,  at 
Siena,  and  also  a  panel  of  the  '  Roman  Lucretia 
stabbing  herself,'  presented  to  Pope  Leo  X.,  who 
conferred  upon  the  artist  in  reward  the  title  of 
Cavalier  of  Christ.  Between  the  years  1518  and 
1525  he  seems  to  have  been  absent  from  Siena, 
perhaps  in  Lombardy,  to  which  fact  certain  docu- 
ments and  pictures  seem  to  point.  In  1525  he, 
assisted  by  various  pupils,  adorned  the  now 
desecrated  church  of  the  Compagnia  di  Santa 
Croce.  Two  fragments  of  these  works,  now  in 
the  Siena  Gallery,  '  The  Descent  into  Limbo  '  and 
the  'Agony  in  the  Garden,'  are  of  extraordinary 
beauty.  The  figure  of  Eve  in  the  former  and  of 
the  sleeping  Apostle  in  the  latter  being  worthy  of 
special  note.  In  this  same  year  also  the  lay  com- 
pany of  St.  Sebastiano,  in  Camellia,  commissioned 
him  to  execute  that  wonderful  banner  which  now 
hangs  in  the  Uffizi  Gallery  in  Florence  :  a  figure  of 
their  patron  saint  unsurpassed,  or  even  equalled, 
by  any  other  artist.  On  the  back  is  a  Madonna  and 
Child  in  glory  with  saints  and  worshippers,  inferior 
in  merit,  but  full  of  charm.  This  work,  we  learn, 
was  left  uncompleted  by  Bazzi,  and  was  finished 
by  his  rival  Beccafumi.  In  1526  were  executed 
the  famous  frescoes  from  the  '  Life  of  St.  Catherine 
of  Siena,'  in  the  chapel  in  St.  Domenico,  where  is 
preserved  her  head,  one  of  which,  her  '  Fainting 
when  receiving  the  Stigmata '  (Lo  Svenimento), 
is  perhaps  the  most  celebrated  and  best  known  of 
the  painter's  works.  Between  the  years  1529  and 
1537  he  painted  a  number  of  works  in  fresco  in  the 
Palazzo  PubbUco,  viz.  single  figures  of  SS.  Ansano 
and  Vittorio,  and  the  Blessed  Bernardo  Tolomei, 
the  Resurrection,  and  the  Madonna  and  Child,  with 
SS.  Ansano  and  Galgano.  In  the  chapel  of  the 
same  place  there  is  also  a  panel,  painted  at  about 
the  same  period,  representing  '  The  Holy  Family 
with  St  Leonard,'  originally  executed  for  the  altar 
of  St.  Calixtus,  in  the  Duomo.  In  1530  the  Spanish 
residents  in  Siena  engaged  him  to  decorate  their 
chapel  in  St.  Spirito.  Here  are  frescoes  of  SS. 
Sebastian,  Anthony  the  Abbot,  and  James  on 
horseback  trampling  on  the  Turks,  and  panels  of 
SS.  Michael  and  Nicolo  di  Tolentino ;  while  in  a 
lunette,  on  another  panel,  the  Virgin,  attended  by 
various  female  saints,  is  clothing  St.  Ildefonso  in 
an   episcopal  habit.     This  picture  is  said  to  have 


been  much  admired  by  tho  Emperor  Charles  V., 
who,  at  about  this  date,  conferred  on  the  painter 
the  rank  of  Count  Palatine.  During  the  next  year 
he  accomplished  the  enormous,  but  now  almost 
entirely  destroyed,  fresco  of  the  'Nativity'  over 
the  Porta  Pispini  of  the  city.  In  1536  he  was 
visiting  and  working  for,  though  none  of  his 
work  there  is  now  to  be  found,  his  benevolent 
friend  and  patron,  James  V.,  Prince  of  Piorabino  ; 
and  in  1540  he  was  visiting  also  Lorenzo  di  Ga- 
leotto  dei  Medici  at  Volterra,  where  again  all 
artistic  trace  of  him  is  lost,  except  the  figure  of 
the  Infant  Christ,  inserted  i)y  him  into  the  large 
painting  of  the  '  Circumcision,'  by  Signorelli  (now 
in  the  National  Gallery,  London).  Thence,  in 
1541,  he  went  to  Pisa,  where  he  painted  two 
pictures  (the 'Sacrifice  of  Isaac 'and  the  'Entomb- 
ment ')  for  the  Duomo,  and  a '  Madonna  and  Saints,' 
now  in  the  Pisa  Public  Gallery,  for  St.  Maria  della 
Spina.  Tlie  first  of  these  three  pictures  was 
carried  to  Paris  by  Napoleon  in  1811,  and  remained 
there  three  years.  He  then  visited  Lucca,  and 
finally  returned  to  Siena,  where  he  died  on  Feb.  14, 
1549  ;  though  probably  not,  as  Vasari  tries  to  make 
out,  in  poverty  and  distress. 

Although  Bazzi  introduced  an  entirely  new  life 
into  Sienese  art,  falling,  as  it  was  fast  doing, 
into  narrow  antiquated  grooves,  and  although  his 
influence  is  very  strongly  marked  throughout 
all  subsequent  art  in  that  city,  it  would  be 
incorrect  to  say  that  he  in  any  sense  founded  a 
school.  His  actual  pupils  were  very  few — he  was 
far  too  erratic  to  keep  any  for  long  together — 
though  his  followars  and  imitators  were  many. 
His  chief  merits  are  ease  of  drawing,  a  certain 
poetic  feeling  that  runs  through  all  his  work,  and 
the  irresistible  charm  of  his  beautiful  heads,  espe- 
cially those  of  women,  youths,  and  children.  His 
schemes  of  colour  are  frequently  very  pleasing, 
particularly  in  his  frescoes,  which  are  his  strongest 
point ;  but  in  panels  and  canvases  it  has  too  often 
become  blackened  and  discoloured  by  the  action  of 
time  and  weather  on  ill-chosen  and  prepared  pig- 
ments. That  he  was  very  much  influenced  by 
Leonardo,  and,  to  some  extent  perhaps,  also  by 
Raphael,  is  evident  from  tije  fact  that  his  works — 
drawings  especially — have  been  often  attributed  to 
these  more  celebrated  masters.  Vasari  evidently 
cordially  disliked  him,  for,  though  compelled  in 
justice  to  praise  him  sometimes,  he  loses  no  oppor- 
tunity of  raking  up  and  inventing  malicious  reports 
about  him,  some  of  which  are  palpably  untrue. 
Besides  the  works  already  mentioned,  the  following 
are  worthy  of  note  : 


Siena.        Picture  Gallery. 


Gallery  of  St. 
Maria  sotto 
le  Volte  del 
Ospedale. 
Chapel  of  SS. 
Giovanino  ^ 
Gennaro. 
„  Chapel   of   the 

Piazza. 
,,  Casa     Bamha- 

yini  Galletti 
(outside) 
Florence.     Uffizi. 


Holy  Family  with  an  Angel 
(tondo). 

Four  Bier  heads  for  the  Com- 
pagnia di  Fonte-Giusta. 

Holy  Family. 


Pitti. 


>Four  Bier-heads. 

>  Madonna  with  Saints  (fresco). 

I  Pieta.    '  Madonna  del  Corvo  ' 
I      (fresco). 

Portrait  of  himself. 
Ecce  Homo. 
Portrait. 
Ecce  Homo. 

99 


A  BIOGRAPHICAL  DICTIONARY  OF 


Florence.      Convent       of") 

Porta       St.\      (•^'■«-'")- 
Frediano).     J 
Naples.    Picture  Gallery.    The  Kesurrection. 
Rome.        Villa  Bonjhese.     Holy  Family. 
„  .,  Pieta. 

„  Palazzo  Spada.      St.  Clmstopher,  (on  theback) 

St.  Lnke. 
„  Palazzo  Cliiai.        Rape  of  the  Sabines  (?). 

Villa  Malta  (Bo-  ]  ^^^-^^^  ^^^^^. 

Turin.         Fictnre  Gallery.   Holy  Family. 

„  „  Madonna  with  Saints. 

,,  ^  Lucretia  stabbing  herself. 

Asinaluuga.   Colleyiata.        Madouna     entluoned      with 

Saints. 

Trequauda.  „  Ascension  (fresco), 

Moutepulciano.     Picture  )  tt  i    -n.      m 

Gallery.  \^°^y^'"^'^y- 

Milan.  Brera.  Madonna  and  Child 

,,  Castello  (Jlluseo}  oi   in-  i      i 

Civico}.  j  St.  Michael, 

,,  Collection  )  nc    i  i  /-«  -u 

Gi„houlhiac.  I  Madonna  and  Child. 

Collectior,,  |  Magdalen. 

,,  ColltCtiOJl.  /    TT      1         T<  -1 

Vittadini.      j  Holy  Family. 
Vaprio  d'Adda  VillaMelzi.  Madonna    and    Child    (large 

(near  Milan).  fresco). 

Bergamo.     Collection  Mo-'^ 

vein  ( Pub.  \  Madonna. 
Gall.).       j 
„  ,,  ,,  Portrait  of  a  man. 

Vercelli.  Coll.  Aw.  >  Madouna  and  Child  and  an 

Borcjoyna.   J      angel. 
Munich.         Pinakuthek.       Holy  Family. 
Vienna.    Ivtpcrial  Gallery .  Holy  Family. 
Frankfort.    Sladel  Gallery.  Portrait  of  a  lady. 
Hanover.  Kestner Museum.  Lucretia. 

„      Coll.  Cumberland.    Holy  Family. 
Berlin.  Museum.  Caritas. 

Hamburg.         Weber  Coll,     Lucretia. 
London.         JVat.  Gallery.     Madonna     and     Child    with 
Saints  [small). 
}t  ).  it  Head  of  Christ. 

„      Coll.  Dr.  L.  Mond.     St.  Jerome. 
„  n  M  Ecce  Homo. 

»,  },  M  Madouna  and  Child. 

„  ,,      Mr.  Walter )  „  i    i.      -i 

tiickert.     j  Holy  Family. 

"          "        Richte'r  I  Madonna  and  Child. 

>,          „            „  Dead  Christ. 

„           „      Dorchester  )  Holy     Family     with    Angels 

House.  J      (tondo). 
„  Surrey  House.     Madonna  and  Child. 

Rich-        „  SirF.  Cook.  )  „,    ^                j  i.,     t^ 

mQ^j  }  bt.  George  and  the  Dragon. 

High  Leigh,  Co?.  Cor-niTO??,  J  -,,._,•. 

Cheshire.         Leiyh.         '  j  Holy  Family  ((o,iA,). 
Gosford  House.  Coll.  Earl  1  „  i    t.      -,     , 

Longniddry.  of  Wemyss.  f  ^oly  Family  (tondo). 
Corsham  CoH.  Lord     )  _        -, 

Court.  Methuen.      j  ^'"'<'  ^omo. 

Paris.  Coll.  Count  Costa  rfi)  „,    .  ^ ,       .       „.    „ 

Beaure,,ard.   \  ^hnst  bearing  His  Cross. 
Brussels.  Coll.  Baron  )  ,    i         ^  i,      „ 

de  Somzee.    j  ^'^^  ^''^  t^«  Swan. 
■  >  „  Pieta. 

R.H.H.C. 

BEACH,  Thomas,  w^s  born  at  Milton  Abbas,  in 
Dorsetshire,  in  1738.  He  was  a  pupil  of  Reynolds, 
and  became  distinguished  as  a  portrait  painter. 
He  lived  for  many  years  at  Bath,  and  sent  his 
pictures  to  the  exhibitions  of  the  Incorporated 
Society  of  Artists,  and  afterwards  to  the  Royal 
Academy.  Three  of  liis  works  were  included  in 
tlie  Exhibition  of  National  Portraits,  1867.  His 
picture   of  'John  Kemble   and   Mrs.  Siddone,  in 

100  '       ' 


"  Macbeth," '  is  his  most  celebrated  production. 
He  died  at  Dorchester  in  1806. 

BEALE,  Mart,  an  eminent  portrait  painter,  was 
born  in  Sufiolk  in  1632.  She  was  the  daughter 
of  the  Rev.  J.  Cradock  of  Walton-on-Thames,  and 
having  shown  a  great  inclination  for  art,  she  was 
placed  under  Sir  Peter  Lely,  and  soon  became 
proficient.  By  copying  several  paintings  by  Van 
Dyck,  she  acquired  a  purity  and  sweetness  of 
colouring  for  wliich  her  portraits  are  distin- 
guished. Of  an  estimable  character,  and  very 
amiable  manners,  she  was  patronized  and  em- 
ployed by  many  of  the  most  distinguished  persons 
of  her  time.  Her  husband  was  also  a  painter,  but 
of  no  celebrity.  Mrs.  Beale  died  in  London  in 
1697.  In  the  National  Portrait  Gallery,  London, 
there  are  by  her  two  portraits — one  of  Charles  II., 
and  the  other  of  Abraham  Cowley.  (See  Walpole's 
'Anecdotes.') 

BEARD,  Thomas.  This  engraver  was  a  native 
of  Ireland,  and  flourished  about  the  year  1728.  He 
worked  in  mezzotint,  and  engraved  principally 
portraits  ;  among  which  are  the  following  : 

The  Archbishop  of  Armagh ;  after  P.  Ashton. 
The  Countess  of  Clarendon  ;  after  Knellcr. 
John  Sterne,  Bishop  of  Clogher ;  after  Carlton. 

BEARD,  William  H.,  was  an  American,  born 
at  Painsville,  Ohio,  in  1821,  his  grandfather  having 
been  a  Judge  of  the  Supreme  Court,  but  liis  father 
a  ship's  captain.  From  his  earliest  youth  he 
delighted  in  drawing,  especially  of  odd,  grotesque 
or  dreadful  figures,  and  it  was  this  ability  which 
caused  him  in  later  years  to  become  the  clever 
humourist  of  America.  He  began  as  a  portrait 
painter,  but  the  comic  element  was  too  strong  in 
him  for  success  in  that  branch  of  art,  and  he 
speedily  turned  to  works  of  imagination.  His 
delineations  of  animal  life  and  his  rebukes  of  the 
frailties  of  human  nature  under  the  transparent 
guise  of  animal  scenes  rendered  him  very  popular 
in  his  ow^n  country,  where  he  rose  to  the  highest 
honours  and  became  one  of  the  earliest  associates 
of  the  National  Academy  of  Design.  His  work  is 
but  little  known  in  England,  but  is  full  of  subtle 
analysis  of  character,  profound  satire  and  clever 
colouring.  Imagination,  humour  and  satire  are  the 
qualities  by  which  his  work  is  distinguished.  His 
drawing  was  too  often  weak  and  at  times  in- 
accurate, but  his  works  were  always  impressive 
and  often  dramatic.     He  died  in  1900. 

BEARDSLEY,  AnsREY,  was  one  of  the  most 
original  draughtsmen  who  have  ever  lived.  He 
attained  his  utmost  celebrity  before  he  was  twenty- 
two  years  old,  and  he  was  but  twenty-five  when 
he  died.  He  was  really  never  more  than  a  wonder- 
ful precocious  boy  all  his  life,  with  all  the  frank 
merriment,  enthusiasm  and  exuberance  of  a  boy. 
His  earliest  pulilished  work  was  a  programme 
and  book  of  words  for  the  annual  entertainment 
of  the  Brighton  Grammar  School  in  December  1888. 
There  were  eleven  drawings  in  the  book,  'the  work 
of  a  boy  at  the  school,'  as  the  programme  stated, 
and  they  were  all  strikingly  individual  and  instinct 
with  life  and  movement.  His  next  published 
work  was  in  the  'Bee'  magazine,  Blackburn, 
December  1891,  and  at  that  time  he  was  a  clerk 
in  the  Guardian  Fire  Office.  He  was  always  in 
the  very  worst  of  health,  suffering  from  frequent 
attacks  of  haemorrhage,  but  during  his  evenings 
found  time  to  prepare  a  large  portfolio  of  draw- 
ings. These  attracted  the  attention  of  Mr.  Aymer 
Vallance,  and  later  on  of  Mr.  Pennell,  and  it  was 


PAINTERS  AND  ENGRAVERS. 


owing  to  the  very  urgent  persuasions  of  these 
two  friends  that  he  eventually  relinquished  his 
occupation,  entered  at  Mr.  Fred  Brown's  Studio 
at  Westminster,  and  finally  decided  to  give  his 
attention  to  illustration.  At  the  age  of  nineteen 
he  accepted  the  tremendous  task  of  illustrating 
the  'Morte  d'Arthur,'  and  after  considerable  labour 
carried  it  through.  When  still  quite  a  lad  he  had 
attracted  the  attention  of  Sir  E.  Burne-Jones  and 
also  of  Puvis  de  Chavannes,  and  it  said  much  for 
his  genius  that  it  should  have  received  encourage- 
ment from  two  men  so  different  in  their  aims  and 
practice  as  were  these  two.  His  special  qualities 
were  thus  described  by  Hamerton  in  his  eulogy 
of  the  artist:  "Extreme  economy  of  means,  the 
perfection  of  discipline,  of  self-control  and  of 
thoughtful  deliberation,  at  the  very  moment  of 
invention."  In  1893  appeared  the  famous  article 
on  Beardsley  in  the  pages  of  the  'Studio,'  and 
from  that  moment  the  lad  was  famous.  His  success 
was  the  most  unfortunate  thing  which  happened 
to  him,  as  he  became  involved  with  the  "  latest 
charlatanisms  of  the  hour,"  and  was  claimed  by 
the  artists  of  the  decadent  movement  as  one  of 
themselves.  His  illustrations  to  the  three  vols. 
of  Bona  Mots,'  and  to  'Salome,'  'The  Kape  of  the 
Lock,'  and  'The  Savoy,'  are  works  of  remarkable 
genius,  but  those  in  the  '  Yellow  Book '  and  many 
of  his  single  illustrations  did  not  add  to  his  fame, 
and  in  some  cases  were  distinguished  by  a  vicious 
and  ignoble  quality,  together  with  a  peculiar 
disposition  to  represent  types  without  intellect  and 
without  morals,  which  later  on  he  regretted  with 
all  his  heart.  His  latest  works  were  the  '  Book  of 
Fifty  Drawings,'  the  illustrations  to  '  Mademoiselle 
de  Maupin,'  and  to  '  Volpone,'  all  executed  when 
he  was  seriously  ill  with  that  illness  from  which 
he  never  recovered.  He  was,  however,  neither 
depraved  nor  immoral,  but  was  unable  to  withstand 
the  desire  to  do  clever,  mischievous  things,  and 
to  shock  persons  of  narrow  opinions.  His  work 
in  the  'Savoy'  and  the  'Yellow  Book'  were  mis- 
understood, and  were  thought  to  be  the  work  of 
a  man  of  evil  disposition,  but  it  was  not  so.  He 
would  have  been  better  had  he  restrained  his 
mischievous  disposition,  and  had  he  lived  he  would 
have  restrained  or  left  it  behind  him,  but  in  any 
case  the  existence  of  this  curious  quality,  much  as 
the  artist  afterwards  regretted  it,  must  not  be  put 
down  to  actual  vice.  Beardsley  was  always  a 
man  of  religious  temperament,  of  deep  and  serious 
aims  and  of  earnest  feelings.  In  the  last  few 
years  of  his  life  he  became  a  Catholic,  and  in  that 
faith  he  died  at  Mentone  in  March,  1898.  His 
drawings  were  fuil  of  imagination  and  of  delicate 
fancy.  There  were  often  the  faults  of  eccentric 
proportions  and  tricks  and  mannerisms  of  style, 
but  with  all  there  was  a  marvellous  knowledge 
of  the  quality  of  line,  an  exquisite  portrayal  of 
texture,  a  vigour,  inventiveness  and  daintiness 
which  are  almost  unapproachable  in  the  work  of 
any  other  man.  His  sense  of  beauty  was  a  very 
real  and  powerful  one,  and  there  is  an  earnestness 
about  his  work  and  a  desire  not  alone  to  be  quaint 
and  fanciful,  but  also  to  realize  the  hidden  depths 
of  beauty  which  deserves  fuller  recognition  than 
it  has  received.  The  horror  and  evil  of  many  of 
the  faces,  the  cunning  and  malice  depicted  in 
some  of  them,  have  been  too  much  considered,  to 
the  detriment  of  the  greater  qualities  which 
Beardsley  undoubtedly  possessed.  His  technique 
was  masterly;  there  was,  as  has  been  well  said,  "a 


serene  surety  in  his  drawing  and  a  superb  sense 
of  style."  No  artist  so  rapidly  reached  so  universal 
or  contested  a  fame,  few  have  had  so  wide  an 
influence,  few  have  been  so  much  misunderstood, 
and  few  have  been  so  profoundly  original.  There 
is  an  excellent  sketch  of  his  life,  written  by  his 
friend  Arthur  Symons,  and  articles  on  his  work 
by  Aymer  Vallance  and  Margaret  Armour  are  to 
be  found  in  the  '  Magazine  of  Art,'  and  by  Pennell 
and  others  in  the  '  Studio '  and  'Artist.'  From  these 
and  from  personal  knowledge  the  above  notice 
has  been  written.  G.  C.  W. 

BEATRICIUS.    See  above.  Master  of  the  Die. 

BEATRIZET,  Nicolas,  (Beauteizet,  or  Bea- 
TRICETTO,)  a  French  engraver,  was  born  at  Lune- 
ville  in  or  before  1520.  From  his  style  it  has  been 
conjectured  that  he  was  a  scholar  of  Ghisi,  and  of 
Agostino  Veneziano  de  Musis.  From  1540  to  1560 
he  engraved  under  the  direction  of  Michelangelo. 
He  died  at  Rome  after  1560.  His  works  are  more 
indebted,  for  the  estimation  in  which  they  are  held, 
to  the  subjects  he  has  selected,  than  to  the  merit 
of  their  execution.  He  usually  marked  his  plates 
with  the  letters  N.  B.  L.  F.  Their  number  is  con- 
siderable, but  most  of  them  are  "NO  Tv"D T 
comprised  in  the  following  list :     _[\Jj     JVj  I   ' 

POETKAITS. 

Bust  of  Pius  III. 

Pope  Paul  III.,  an  oval. 

Pope  Paul  IV. ;  dated  1558. 

Henry  II.,  King  of  France ;  N.  B.  F.  Lot  f.  1558. 

Another  Portrait  of  Henry  II. ;  dated  1556. 

Hippolita  Gonzaga. 

Juan  Valverdus,  Spaniard. 

Antoine  Salamanca'J  engraver  and  dealer  in  prints. 

Don  Juan  of  Austria,  an  oval,  on  a  monument ;  inscribed 
Generate  della  Legha. 

The  Genealogy  of  the  first  twelve  Emperors  and  Em- 
presses, with  their  Portraits,  from  medals ;  two  sheets. 

The  Kings  of  Poland,  in  medallions ;  inscribed  Reges 
Folonia. 

SUBJECTS   OF    SACRED    HISTORY. 

Cain  killing  Abel ;  inscribed  Fratricida  Abelis,  A.  S- 

ex.    1540. 
Joseph  explaining  the  Dream ;  after  Maphael;  marked 

iV.  £.  F.,  and  his  name ;  one  of  his  best  plates. 
The  Nativity  of  the  Virgin  ;  after  Baccio  Bandinelli ; 

inscribed  Kicolaus  Beatricius  restituit  et  formis  suis 

exc. 
The  Anmmciation  ;  with  the  names  of  Michelangelo  and 

Beatrici. 
The  Adoration  of  the  Magi ;  after  Parmigiano, N.B.L.F. 
The  Holy  Family,  with  St.  John ;  Jerom.  Mutian,pinx., 

Nicolaus  Beatricius  Lotaringus,  incidit,  ^c. 
The  Good  Samaritan  ;  Michelangelo,  inv. 
Christ  on  the  Mount  of  Olives ;  after  Titian ;  marked 

N.B.F. 
The  Cruciiision,  with  the  Virgin,  Magdalene,  and  St. 

John ;  with  the  Sun  and  Moon  on  each  side ;  Muci- 

anns  Brixianus,  inv.,  Nicolaus  Beatricius,  SjC.  exc. 
The  Mater  Dolorosa ;  after  Michelangelo ;  N.  B.  Roma:. 

1547. 
The  taking  down  from  the  Cross;   after  Circignani ; 

marked  B.  Romtc. 
Christ  dehvering  the  Souls  from  Purgatory ;   with  the 

names  of  Raphael  and  Beatrici. 
The  Ascension ;  after  Raphael,  with  his  cipher.     1541. 
The  Conversion  of  St.  Paul ;  Michelangelo,  pinx.,  4r«.  ; 

marked  N.  B. 
St.  Michael  overcoming  the  Evil  Spirit ;  after  Raphael ; 

marked  N.B.  L. 
The  Virgin  seated  on  a  Throne,  distributing  Rosaries ; 

inscribed  Nicola^is  Beatricius,  §c.  exc,  oval. 
The  Cross  worshipped  all  over  the  world ;  arched  plate, 

marked  N.  B.  F.,  and  inscribed  Crux  illustris,  tjc. 

MDLTII. 

The  prophet  Jeremiah ;  after  Michelangelo. 


A  BIOGRAPHICAL  DICTIONARY  OF 


St.  Jerome  kneeling  before  a  Crucifix;  after  Titian; 
marked  N.  B.  L.  F. 

St.  Elizabeth,  Qyeen  of  Hungary,  relieving  the  dis- 
tressed ;  after  ilutiano. 

The  Last  .Judgment;  after  Michelangelo.  Dated  1562. 
In  nine  sheets. 

SUBJECTS    OF   PEOFAls'E    HISTORY. 

The  Sacrifice  of  Iphigenia;  on  the  altar  is  inscribed 

Iphigenia  ;  it  is  marked  N.  B.  X.  F. 
Ganymede;  after  Michelangelo ;   inscribed   Gaiiimedes 

Juvenis^  S^c. 
The  Fall  of  Phaeton ;  after  Michelangelo  ;  retouched  by 

Beatrici. 
Tityus  devoured  by  a  Vulture;  after  the  same  ;  Ant. 

Salamancha,  ei. 
Silenus  carried  by  Children ;  after  the  same ;  N.  Bea- 
trice^ fee. 
The  Dream  of  Human  Life,  emblematical  subject ;  after 

the  same. 
Shooting  at  a  Target ;  after  the  same. 
Vertumnus  and  Pomona ;  after  Pontormo. 
Keason  combating  Love ;  after  B.  BandineUi ;  with  his 

cipher. 
A  Combat  between  five  Men  and  five  WUd  Beasts ;  after 

Giulio  Romano.    1532. 
The  Battle  of  the  Amazons ;  after  a  basso-rilievo ;    in- 
scribed Amazonttm  pitgna,  ^-c.     1559. 
The  Battle  of  the  Dacii ;  after  the  basso-rilievo  of  the 

Arch  of  Constantino;  marked  Jf.  B.  and  inscribed 

Tabula  Marmora,  Igc. 
The  Emperor  Trajan  triimiphant ;  after  a  basso-rilievo. 

1560. 
The  Pantheon  of  M.  Agrippa ;  marked  N.  B.  F. 
The  Temple  of  Fortune;  after  a  drawing  by  Raphael; 

marked  N.  B.  F. 
The  great  Circus;  marked  jV.  Beatrizet  Loiaringia ; 

two  sheets. 
The  Front  of  the  Farnese  Palace ;  after  the  design  of 

Michelangelo.     IMS. 
Statue  of  Moses ;   after  Michelangelo  ;  inscribed  Moysis 

ingens,  §c. 
Statue  of  Jesus  Christ ;  after  Michelangelo ;  with  his 

name. 
Equestrian  Statue  of  M.  Aurelius.     1558. 
Statue  of  a  Philosopher  reading ;  inscribed  Aiiaximenes, 

4'C. :  the  plate  was  afterwards  retouched,  and   the 

Philosopher  changed  into  St.  Paul. 
The  Castle  of  St.  Angelo. 
The  Siege  and  Taking  of  Luneville ;  A"ic.  Beatrizet  Lo- 

taringas,  incidet.     155S. 

BEAU,  Pierre  Adrien  le.     See  Le  Bead. 

BEAUBRUN,  Henri,  a  French  portrait  painter 
to  the  king,  and  a  member  of  the  Royal  Academy 
of  Painting  in  1648,  was  born  at  Amboise  about 
16U3;  he  died  in  1677.  Charles  Beadbrun,  his 
cousin  and  fellow-worker,  also  a  portrait  painter, 
was  born  at  Amboise  in  1604,  received  into  the 
Academy  in  1651,  and  died  in  Paris  in  1692.  Works 
by  them  are  in  the  Madrid  Gallery.  Mathieu 
Beaubbdn,  the  fatlier  of  Charles  and  brother  of 
Louis,  was  likewise  a  painter.  He  died  in  Paris  in 
1642.  LODIS  Beaubrun,  a  portrait  painter  of  the 
16th  century,  an  imitator  of  the  Pourbus,  was  uncle 
of  Charles  iind  Henri,  and  died  in  Paris  in  1627. 
In  1616,  on  the  occasion  of  the  entry  of  Louis 
XIII.  and  Anne  of  Austria  into  Paris  after  their 
marriiige,  Louis  Beaubrun  executed  a  large  alle- 
gorical painting  for  the  decoration  of  the  Porte  St. 
Jacques,  which  he  himself  engraved. 

BEAUCLERK,  Lady  Diaka,  a  daughter  of 
Charles  Snencer,  second  Duke  of  Marlborough, 
was  bom  in  1734,  and  became  an  amateur  artist 
of  some  celebrit}'.  She  married,  in  1757,  Frederick, 
second  Viscount  Bolingbroke,  from  whom  she  was 
divorced  in  1768.  Two  days  after  she  married  the 
celebrated  wit,  Topham  Beauclerk,  by  whom  she 
was  left  a  widow  in  1780.      Her  illustrations  of 

102 


Burger's  'Leonora'  (1796),  and  Dryden's  'Fables' 
(1797),  are  well  known  to  book  collectors.  She 
also  designed  groups  of  young  Bacchanals,  and 
other  bas-rehefs  for  Wedgwood.  She  died  in 
1808. 

BEAULIEU,  Anatole  Henri  de,  a  French 
painter  of  historical,  genre,  and  military  subjects, 
was  born  in  Paris  in  1819,  and  was  a  pupil  of  Dela- 
croix.    He  died  in  1884. 

BEAUME,  Joseph,  a  French  historical  painter, 
born  at  Marseilles  in  1796,  was  a  favourite  pupil 
of  Gros,  and  a  frequent  contributor  to  the  Salon 
between  1819  and  1878.  In  the  time  of  Louis 
PhiHppe  he  was  commissioned  to  paint  several 
large  battle-pieces  for  Versailles.  His  '  Henri  III. 
on  his  Death-bed '  is  in  the  Luxembourg.  He  died 
in  September,  1885. 

BEAUMEZ,  Jean  de,  is  recorded  to  have  been 
"painter  and  valet"  to  Philip  the  Hardy,  for  whom 
he  painted  numerous  works,  and  decorated,  among 
other  chapels,  that  of  the  Castle  of  Argilli,  in  Bur- 
gundy. Jean  de  Beanmez  was  employed  by  his 
patron  from  about  1375  to  1395. 

BEAUMONT,  Cavaliere  Claudio,  was  bom  at 
Turin  in  1694.  After  studying  some  time  in  his 
native  city,  he  went  to  Rome,  and  applied  himself 
to  copying  the  works  of  Raphael,  the  Carracci,  and 
Guido.  He  appears  to  have  had  Little  respect  for  the 
Roman  painters  of  his  time,  except  Trevisani.  whose 
manner  he  imitated  in  the  vigour  of  his  tints.  On 
his  return  to  Turin,  he  was  employed  in  decorating 
the  royal  palace,  where  he  also  painted  in  fresco,  in 
the  library,  various  symbolical  subjects,  relative  to 
the  Royal  Family  of  Sardinia ;  and  in  the  other 
apartments  he  represented  the  '  Rape  of  Helen,' 
and  the  '  Judgment  of  Paris.'  In  the  Chiesa  deUa 
Croce  is  a  fine  picture  of  the  '  Descent  from  the 
Cross.'  The  King  of  Sardinia  conferred  on  him 
the  order  of  knighthood  in  1766. 

BEAUMONT,  Charles  Edouard  pe,  painter, 
was  a  native  of  Lannion  (Cotes  de  Nord),  and  a 
pupil  of  Boisselier.  He  painted  genre  pictures, 
generally  of  a  humorous  character,  both  in  oils  and 
water-colour,  and  gained  medals  in  1870  and  1875. 
He  was  president  of  the  Society  des  Aquarellistes 
Franpais  at  the  time  of  his  death,  which  took  place 
in  January,  1888. 

BEAUMONT,  Sir  George  Howland,  Baronet, 
an  amateur  painter,  was  bom  at  Dunmow,  in  Essex, 
in  1753.  He  was  a  liberal  patron  of  artists,  and 
very  fond  of  their  society.  He  was  a  great 
admirer  of  Claude  and  of  Wilson ;  and  painted 
in  a  respectable  manner  scenes  at  Coleorton  and 
the  groves  at  Charnwood.  In  1826  he  presented 
sixteen  pictures  to  the  National  Gallery,  which 
collection  he  greatly  helped  to  establish.  The 
Gallery  also  possesses  two  landscapes  by  him, 
presented  after  his  death  by  his  widow.  He  died 
at  Coleorton,  Leicestershire,  in  1827. 

BEAUMONT,  Jean  Francois  ALBANIS  de. 
See  Albanis  de  Beaumont. 

BEAUMONT,  John  Thomas  BARBER,  who  was 
bom  in  London  in  1774,  was  in  earlj'  life  a 
miniature  painter;  and  from  1794  to  1806  exhi- 
bited his  works  under  his  original  name.  Barber, 
at  the  Royal  Academy.  He  subsequently  adopted 
the  name  Beaumont  in  addition  to  Barber.  He 
is  best  known  as  the  originator  and  manager  of 
the  County  Fire  OfSce  and  of  the  Provident  Life 
OfiBce.     He  died  in  London  in  1841. 

BEAUMONT,  Pierre  FRANgois,  a  French  en- 
graver, was  horn  in  Paris  about  the  year  1720.    He 


PAINTERS  AND  ENGRAVERS. 


executed  some  plates,  chiefly  after  Jan  Brueghel 
and  Ph.  Wouwernian. 

Three  Views  in  Flanders ;  after  Brueghel. 
Four  Hunting  Pieces  ;  sfter  N.  N.  Coijpel. 
The  Angel  appearing  to  the  Shepherds  ;  after  Wouuer- 

man. 
rhe  Thirsty  Traveller ;  after  the  same. 
Running  at  the  Ring ;  after  the  same 
The  Swimmers ;  after  the  same. 
Cavalry  defiling ;  after  the  same. 
Halt  of  Cavah^ ;  after  the  same. 
The  Blacksmith ;  after  the  same, 

BEAUNEVEU,  Andre,  a  painter  of  miniatures, 
was  employed  in  the  early  part  of  the  15th  cen- 
tury in  illustrating  for  the  Duke  Jean  de  Berry 
a  Psalter,  now  in  the  National  Library  at  Paris ; 
which  for  its  beauty  of  conception  and  careful  exe- 
cution will  bear  favourable  comparison  with  the 
works  of  Meister  VVilhelm.  The  miniatures  in  a 
Prayer  Book  of  this  duke,  now  in  the  Royal  Library 
at  Brussels,  are  also  attributed  to  Beauneveu. 

BEAUTRIZET.    See  B^ateizet. 

BEAUVAIS,  DAUPHIN  de.  See  Dadphin  de 
Beauvais. 

BEAUVARLET,  Jacques  Fibmin,  a  celebrated 
engraver,  was  born  at  Abbeville  in  1731.  He  went 
to  Paris  when  young,  and  was  instructed  in  the  art 
by  Charles  Dupuis  and  Laurent  Cars.  His  first 
manner  was  bold  and  free,  and  his  plates  in  that 
style  are  preferred  by  some  to  the  more  finished 
and  highly-wrought  prints  that  he  afterwards  pro- 
duced, although  it  must  be  confessed  that  the 
latter  are  executed  with  great  neatness  and  delicacy. 
Beauvarlet  married,  in  1761,  Catherine  Jeanne 
Fran9oise  Deschamps,  a  young  lady  who  possessed 
some  skill  in  engraving,  but  who  died  in  1769  at 
the  age  of  thirty-one.  He  married  again  in  1770, 
but  became  for  a  second  time  a  widower  in  1779. 
Eight  years  later,  in  1787,  he  married  Marie 
Catherine  Biollet,  who,  like  his  first  wife,  was  an 
engraver.  She  was  born  in  Paris  in  1755,  and  is 
said  to  have  died  in  1788.  Beauvarlet  himself 
died  in  Paris  in  1797.  The  following  are  his 
principal  works : 

portraits. 

Marie  Adelaide,  daughter  of  Louis  XV. ;  after  Nattier. 
Louis  Joseph  Xavier,  Duke  of  Burgundy;  after  Fredou. 
Mile.  Clairon,  actress  ;  after  Van  Loo  ;  by  Laurent  Cars 

and  Beauvarlet. 
The  Abbe  NoUet ;  after  La  Tour. 
Edme  Bouchardon.  sculptor  :  after  Drouais.    1770. 
Jean  Baptiste-Poqaelin  de  Moliere  ;  after  S.  Bourdon. 
The  Marquis  de  Bomballes  ;  after  Ltosliii  and  Fernet. 
Catharine,  Princess  Galizin  ;  medallion. 
Ferdinand,  Duke  of  Brunswick. 
Madame  du  Barry  ;  after  Drouais. 

SUBJECTS   AFTER    VARIOUS   MASTERS. 
Lot  and  his  Daughters  ;  after  Luca  Giordano. 
Susannah  and  the  Elders  ;  after  the  same. 
Perseus,  combating  Phineus,  shows  the  Head  of  Medusa ; 

after  tlie  same. 
Aas  and  Galatea  ;  after  the  same. 
The  Judgment  of  Paris  ;  after  the  same. 
The  Rape  of  Europa  ;  after  the  same. 
The  Rape  of  the  Sabiues  ;  after  the  same. 
Susannah  and  the  Elders  ;  after  Guido  Canlasst. 
The  Sewers  ;  after  Guido  Reni  ;  very  highly  finished. 
The  Incredulity  of  Thomas  ;  after  Calabrese. 
Venus    lamenting  the    Death   of    Adonis ;    after    A. 

Turchi. 
La  Rusee  ;  after  C.  Vega. 
The  Double  Surprise ;  after  Ger.  Don 
The  Fisherman  ;  after  H.  Carre. 
The  Tric-trac  Players  ;  after  Tenters. 
The  Bagpiper  ;  after  the  same. 


The  Burgomaster ;  after  Osiade 
Diana  and  Actseon  ;  after  Rottetihammer. 
The  Bathers  ;  after  Boucher. 
The  Trap  ;  after  the  same. 
Cupid  chained  by  the  Graces  ;  after  the  same. 
The  Children  of  the  Count  de  Bethune  ;  after  Drouain, 
Le  Colin  Maillard  ;  after  Fragonard. 
The  Chastity  of  Joseph  ;  after  Nattier. 
Susannah  and  the  Elders  ;  after  Vien. 
The  Offering  to  Venus  ;  after  the  same. 
'     The  Offering  to  Ceres ;  after  the  same. 
Cupid  holding  his  Bow  ;  after  C.  van  Zoo. 
La  Confidence  ;  after  the  same. 
The  Sultana  ;  after  the  same. 
Lecture  Espagnole ;  after  the  same. 
Conversation  Espagnole  ;  after  the  same. 
Telemachas  in  the  Island  of  Calypso  ;  after  Raoux. 
The  Toilet,  and  the  Return  from  the  Ball ;  two  com- 
panions ;  after  De  Troy. 
Seven  prints  of  the  History  of  Esther ;  after  J.  F.  de 

Troy. 
A  Subject  from  an  Antique  Painting  at  Herculaneum. 

A  catalogue  of  his  works  was  published  at  Abbe- 
ville in  1860  by  I'Abbe  Dairaine. 

BEAVIS,  Richard,  was  born  at  Exmouth  in 
1824,  and  spent  his  early  life  at  Sidmouth.  His 
boyish  leanings  towards  art  were  sternly  repressed 
by  his  father,  and  it  was  not  until  1846  that,  en- 
couraged and  assisted  by  some  friends,  he  made 
his  way  to  London  and  became  a  student  in  the 
Government  School  of  Design,  Somerset  House. 
In  1850  he  became  designer  to  a  firm  of  decorators 
in  Parliament  Street,  and  his  earliest  exhibited 
works  at  the  Royal  Academy,  in  1855,  1858  and 
1860,  were  schemes  of  decoration  executed  for 
them.  He  continued  at  the  same  time  during  his 
leisure  moments  to  practise  both  in  oils  and  water- 
colours,  and  after  exhibiting  several  times  at  the 
British  Institution,  obtained  the  admission  to  the 
Royal  Academy,  in  1862,  of  two  pictures,  'A 
Mountain  Rill'  and  'Fishermen  picking  up  Wreck 
at  Sea.'  The  success,  financial  as  well  as  artistic, 
of  these  works  was  sufBcient  to  justify  him  in 
devoting  himself  thenceforward  to  purely  artistic 
production,  and  he  became  a  regular  contributor  to 
the  exhibitions,  residing  or  travelling  abroad  for 
many  years  and  choosing  his  subjects  accordingly, 
in  France,  Holland,  and  Egypt.  He  was  elected 
an  associate  of  the  Royal  Society  of  Painters  in 
Water-Colours  in  1882,  a  member  in  1892,  and 
died  on  November  13,  1896. 

BECCAFUMI,  DoMENico  Di  Pace,  was  the  son 
of  a  certain  Giacomo  (Jacopo)  di  Pace,  a  labourer 
on  the  property  of  the  Sienese  noble,  Lorenzo 
Beccafumi,  at  Cortine,  near  Montaperto,  in  the 
Province  of  Siena,  and  was  born  there  in  1486. 
The  boy  early  showed  remarkable  artistic  promise, 
and  used  to  amuse  himself  modelling  animals, 
flowers  and  leaves  in  clay.  His  father's  employer 
having  seen  these  works,  and  being  struck  with 
their  merit,  took  him  into  his  house  as  a  sort  of 
servitor,  and  gave  him  there  opportunities  for 
studying  Art.  Near  his  home  there  was  then 
hving  an  artist,  named  Mecarino,  of  poor  abilities 
and  circumstances,  but  possessing  a  fine  collection 
of  drawings  by  good  masters.  These  the  young 
Domenico  di  Pace  studied  carefully,  and  on 
Mecarino's  death,  by  the  artist's  special  wish, 
assumed  his  name.  He  is  therefore  frequently 
referred  to  in  Sienese  Art-History  as  B,  Mecarino 
(sometimes  spelt  Mecherino) ;  the  surname  of  his 
first  patron  Beccafumi  being  assumed  in  later 
years. 

Vasari  tells  us  that  it  was  while  at  work  in 
Rome  that  he  heard  of  the  artistic  fame  of  the 

103 


A  BIOGRAPHICAL  DICTIONARY  OF 


Vercellese  Giovanni  Antonio  Bazzi,  newly  arrived 
in  his  native  city ;  reports,  which  brought  him 
home  to  study  for  a  time  under  that  painter,  whose 
influence  his  works  so  strongly  betray,  but  whose 
bitter  rival  he  subsequently  became.  In  Rome  he 
studied  carefully  the  works  of  Raphael  and  Michael- 
angelo,  but  liis  best  works  are  to  be  found  in 
Siena  itself.  He  was  largely  employed  by  his 
fellow-townsmen,  not  only  in  executing  works  of 
art  of  all  kinds,  but  as  critic,  valuer  of,  and 
authority  on,  the  works  of  other  artists.  Ex- 
amples of  his  work  as  a  bronze  founder  may 
be  seen  in  six  angels  holding  lamps  in  the  choir 
of  the  Cathedral  at  Siena,  for  which  he  received 
11,600  lire.  His  most  highly-praised  works  : 
'Scenes  from  the  Old  Testament,'  &c.,  inlaid  on 
the  Pavement  of  the  Cathedral,  are  hardly  worthy 
of  the  lavish  encomiums  that  have  been  expended 
upon  them.  The  drawing  in  them,  which  may  be 
better  enjoj-ed  from  the  Cartoons,  some  of  which 
are  still  existing  in  the  Siena  Academy,  and 
from  the  large  woodcuts  by  Andrea  Andreani, 
which  may  be  seen  in  the  Uffizi  Gallery  and 
Marucelliana  Library  in  Florence,  is  remarkably 
fine ;  but  his  attempts  to  produce  a  tour  de  force 
with  chiaroscuro  effects  in  parti-coloured  marbles 
are  not  altogether  satisfactory,  and  do  not  com- 
pare to  advantage  with  the  simpler  work  of  his 
predecessors  in  the  same  place.  His  paintings, 
clearly  influenced  by  the  stronger  artistic  per- 
sonalities with  whom  he  came  in  contact  at  various 
times,  are  generally  unpleasing ;  his  figures  being 
often  curiously  elongated.  His  composition  and 
colouring,  however,  occasionally  have  considerable 
merits.  In  1513,  in  rivalry  with  Bazzi,  he  decorated 
in  fresco  the  fagade  of  the  Palazzo  dei'  Borghesi 
in  Siena.  In  1318,  in  competition  with  Bazzi  and 
Girolamo  del  Pacchia,  he  executed  certain  scenes 
from  the  '  Life  of  the  Virgin '  (her  Marriage  and 
Death),  and  also  an  altar-piece  for  the  Oratory  of 
St.  Bernardino.  In  1529,  and  again  in  1535,  he 
was  employed  to  decorate  the  Sala  del  Concistoro 
of  the  Palazzo  Pubblico:  and  in  1536  he  was 
associated  with  Anton  Maria  Lari  (nicknamed  il 
Toi:o),  in  designing  and  erecting  a  triumphal  arch, 
a  vast  papier-mache  horse  and  other  decorations 
in  honour  of  the  visit  of  the  Emperor  Charles  V. 
Several  of  the  private  palaces  in  Siena  contain 
wall  and  ceiling  decorations  by  this  master :  and 
we  read  that  he  was  also  employed  to  complete 
the  famous  banner,  painted  by  Bazzi  in  1525,  for 
the  Compagnia  di  S.  Sebastiano  in  CamoUia.  By 
some  authorities  he  is  said  to  have  died  on  May 
19,  1550 ;  others  state  that  his  death  did  not 
OLCur  until  the  following  year.  His  principal 
works,  exclusive  of  those  already  mentioned,  are 
to  be  found : 


Pisa.  Cathedral.     Scenes  from  the  Old  Testament, 

and  the  four  Evangelists. 
Florence.         Pitti.         Holy  Family. 
Genoa.  Palazzo )   rr  i    t        i 

Siena.  Academy,    Descent  into  Limbo. 

„  ,,  Fall  of  the  Rebellious  Angels. 

„  ,,  St.  Catherine  receiving  the  Stig- 

mata. 
„  ,,  The  Birth  of  the  Virgin. 

the  Cmife.  }  S*-  ^ctael  subduing  Satan. 
Munich.  Pinakothek.      Holy  Family. 
houdon.A'at.  Gallny.     Marriage  of  St.  Catherine  (?). 

K.H.H.C. 
104 


As  an  engraver,  we  have  by  him  some  excellent 
woodcuts  ;  and  he  engraved  some  plates,  both 
etched  and  with  the  graver  only,  which  show  the 
hand  of  a  great  master,  although  they  may  not 
be  so  pleasing  to  those  who  are  accustomed  to  look 
for  neatness  of  handling.  He  sometimes  marked 
his  prints  with  his  name,  Micarino  fe.,  and  some- 
■tiraes  with  a  B,  divided  in  the  middle,  thus  ,T>  , 
We  have  the  following  prints  by  him:  JJ 

Paulus  III.  Poiitifex  Maximus :  without  a  name.    1515 

An  Old  Man  standing,  and  a  Young  Man  lying  down ; 
Micarino^  fee. 

Three  Academy  Figures  ;  without  a  name. 

The  Nativity  ;  after  Titian  ;  a  woodcut,  fine. 

The  Virgin  embracing  the  Infant  Jesus ;   a  woodcut, 
three  tints. 

St.  Peter  holding  a  Book  and  the  Keys  ;  a  woodcut,  in 
chiaroscuro. 

St.  PhiUp  holding  a  Book  and  a  Cross  ;  the  same. 

St.  Andrew,  with  his  Cross ;  the  same. 

A  Philosopher,  with  a  Cloak,  sitting ;  the  same. 

St.  Jerome  kneeling  before  a  Cmcifix ;  a  woodcut. 

Ten  subjects  of  Alchemy,  on  the  first  is  inscribed  Meca- 
ritius  de  Sitiis  inventor. 

BECCARDZZI,  Feancesco,  was  bom  at  Cone- 
gliano,  in  the  Friuli,  and  was  a  disciple  of  Porde- 
none,  whose  manner  he  followed :  he  painted  with 
considerable  reputation,  both  in  oil  and  in  fresco. 
Many  of  his  works,  in  the  churches  and  convents 
at  Trevigi,  are  described  by  Ridolfi.  One  of  his  best 
performances,  according  to  that  author,  was  the 
picture  he  painted  for  the  church  of  the  Francis- 
cans, at  Conegliano,  representing  St.  Francis  re- 
ceiving the  Stigmata,  with  several  Saints.  Becca- 
ruzzi  flourished  in  the  16th  century. 

BECERRA,  Gasparo,  a  Spanish  artist  of  great 
celebrity,  wEis  bom  at  Baeza,  in  Andalusia,  in  1520. 
He  excelled  as  a  painter,  a  sculptor,  and  an  architect. 
The  patronage  bestowed  on  the  arts  by  Charles  V. 
induced  Becerra  to  visit  Rome  for  improvement ; 
he  went  at  a  time  when  Michelangelo  was  in  the 
zenith  of  his  fame  ;  and  it  is  said  by  Palomino,  that 
he  had  the  advantage  of  studying  under  that  great 
master.  He  was  much  influenced  by  the  works  of 
Raphael  and  of  Daniele  da  Volterra.  On  his  return, 
in  1556,  he  was  taken  under  the  protection  of  Philip 
II. ,  and  executed  some  works  in  fresco,  in  the  palace 
at  Madrid,  which  attracted  general  admiration.  In 
1563  he  was  appointed  painter  to  the  Court.  He 
was  one  of  the  first  reformers  of  the  Spanish 
school,  by  introducing  a  superior  style,  founded  on 
that  of  Buonarroti.  Many  of  his  works  are  in  the 
public  edifices  at  Madrid,  Valladolid,  Astorga,  and 
Zamora.  He  died  at  Madrid  in  1570.  The  designs 
of  Becerra  are  very  rare,  and  are  much  esteemed 
for  the  great  care  he  bestowed  on  them  ;  for  he 
justly  considered  design  as  the  foundation  of 
painting.  [For  a  full  account  of  his  works  in 
the  public  buildings,  see  Bermudez's  '  Diccionario 
historico.'] 

BECHON,  J.,  a  native  of  France,  who  flourished 
about  the  year  1670,  engraved  several  plates  of 
landscapes,  executed  in  a  clear,  neat  style. 

BECK,  August,  a  designer  and  painter,  bom  at 
Basle,  in  Switzerland,  in  1823,  studied  art  at  Dussel- 
dorf ;  his  works  chiefly  represent  horses  and  battle 
scenes.  From  1859  up  to  1871  he  drew  for  the 
illustrated  paper  of  Leipsie.  He  died  at  Thun  in 
1872. 

BECK,  David,  was  bom  at  Amheim  (or  Delft)  in 
16:21.  He  had  the  advantage  of  being  a  scholar  of 
Van  Dyck,  and  became  one  of  his  ablest  disciples. 
He  was  at  least  the  most  successful.    King  Charles 


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PAINTERS  AND  ENGRAVERS. 


I.  favoured  him  with  his  patronage,  and  he  was 
appointed  to  instruct  the  Prince  of  Wales  and 
Duke  of  York  in  drawing.  Beck  is  said  to  have 
painted  with  unusual  promptitude  and  facility, 
■which,  being  remarked  by  the  king  when  sitting  to 
him,  occasioned  that  monarch  to  tell  him  pleasantly 
that  he  believed  he  could  paint  if  he  were  riding 
post.  After  passing  some  years  in  England,  he 
visited  Sweden,  where  he  was  received  with  dis- 
tinction by  Queen  Christina,  who  appointed  him 
her  principal  painter  and  chamberlain.  Notwith- 
standing the  flattering  protection  he  received  from 
the  queen,  his  desire  to  revisit  his  native  country 
prompted  him  to  solicit  permission  to  return  to 
Holland,  which  he  with  difliculty  obtained,  under 
a  promise  to  return.  His  attachment  to  his  country 
prevented  his  fulfilling  his  engagement,  and  he 
died  at  the  Hague  in  1656. 

BECKENKAMP,  Caspar  Benedict,  who  was 
bom,  in  1747,  in  the  valley  of  Ehrenbreitstein,  near 
Coblence,  studied  under  his  father  and  Jan  Zick,  at 
Coblence.  At  first  he  devoted  himself  to  painting 
landscapes,  after  C.  G.  Schiitz ;  but  afterwards 
changed  to  portraiture.  He  settled  at  Cologne, 
and  imitated  with  success  the  style  of  painting  of 
the  old  German  masters.  He  died  in  that  town  in 
1828.  Several  portraits  by  him  are  in  the  Wallraf 
Museum,  Cologne.  For  the  church  of  Santa  Maria 
in  Littore,  Cologne,  he  painted  a  copy  of  a  PietA — 
once  in  that  church,  and  now  in  the  Stadel  Gallery 
— formerly  ascribed  to  Schoreel,  but  now  given  to 
Mabuse. 

BECKER,  August,  landscape  painter,  was  born 
at  Darmstadt  in  1822.  He  studied  in  his  native 
town  under  Schilbach,  and  afterwards  settled  at 
Diisaeldorf.  He  several  times  visited  Queen  Vic- 
toria at  Balmoral,  where  he  painted  a  series  of 
pictures  of  Highland  scenery,  and  gave  lessons  to 
the  young  princesses.  In  1862  he  became  teacher 
to  the  Hereditary  Princess  of  HohenzoUern.  He 
died  at  Dusseldorf  in  December,  1887. 

BECKER,  Ferdinand,  was  bom  at  Gousenheim 
in  1846.  He  entered  the  studio  of  Steinle,  at 
Frankfort,  in  1868,  and  afterwards  removed  to 
Mayence,  where  he  painted  his  most  celebrated 
work,  '  Juden  im  Dom.'  He  also  illustrated  the 
German  '  Mahrchen.'     He  died  in  1877. 

BECKER,  Jakob,  born  at  Dittelsheim,  near 
Worms,  in  1810,  learned  the  rudiments  of  painting 
in  his  native  town.  He  went  to  Dusseldorf  in 
1833,  and  painted  under  Schirmer  first  landscapes, 
afterwards  romantic  pieces,  and  finally  genre,  in 
which  latter  branch  he  especially  excelled.  In 
1840  he  became  Professor  at  the  Stadel  Institute 
at  Frankfort,  and  was  subsequently  elected  a 
member  of  the  Academies  of  Berlin  and  Brussels. 
He  died  at  Frankfort  in  1872.  Amongst  his  best 
works  may  be  mentioned  : 

A  Farmer's  family  praying  for  the  6ick  mother. 

Evening  at  the  Well  in  the  Westerwald. 

The  Warrior  returning  home. 

The  Wounded    Poacher   (in  possession  of   the   Count 

Maczynski,  Berlin), 
A  Shepherd  killed  by  lightning  {painted  in  1844.     Stadel 

Institute). 
The  returning  home  from  the  harvest-field  (engraved  by 

Steifensand). 

BECKER,  Louis  Hugo,  a  painter  and  etcher,  born 
at  Wesel  in  1834,  studied  landscape  painting  under 
Schirmer  and  Gude,  at  Dusseldorf,  about  1852.  He 
afterwards  visited  Westphalia,  the  Upper  Rhine,  the 
Moselle,  Switzerland,  Normandy,  and  the  neighbour- 


hood of  the  Baltic.  In  1861  he  obtained  a  medal 
at  Metz.  He  died  at  Dusseldorf  in  1868.  Among 
his  landscapes  the  most  important  are : 

The  Sacrifice  of  the  Old  Germans  (in  possession  of  Gl 

V.  Grbben). 
The  Passing  Storm. 
Sunday  Morning. 
The  Shepherd  on  the  Pasture. 
Christmas  Eve. 
The  Vine-crop  on  the  Moselle. 

BECKER,  Philipp  Jakob,  a  German  painter, 
was  born  at  Pforzheim  in  1763.  At  seventeen 
years  of  age  he  went  to  Rome,  where  he  studied 
and  formed  his  style  under  Raphael  Mengs  and 
Maron.  In  1785  he  returned  to  Carlsruhe,  having 
acquired  in  Italy  a  high  degree  of  skill  in  every 
technical  requirement  of  his  art.  But  he  was  want- 
ing in  poetic  fancy,  and  did  not  succeed  in  any 
remarkable  manner  in  oil-painting.  He  died  at 
Erlenbad  in  1829.  He  left  a  large  number  of 
drawings  in  crayons  and  sepia,  many  of  them 
copies,  but  all  admirable  for  the  taste  and  finish 
displayed  in  their  execution.  He  was  for  many 
years  Director  of  all  the  collections  of  paintings 
and  engravings  of  the  Grand  Duke  of  Baden. 

BECKET,  Isaac.  This  artist  was  one  of  the 
earliest  mezzotint  engravers  in  England.  He  was 
born  in  Kent  in  1653,  and  was  bred  to  the  busi- 
ness of  a  calico-printer ;  but  becoming  acquainted 
with  Lutterel,  who  had  made  some  progress  in  the 
art  of  mezzotint  engraving,  he  learned  from  him 
the  process,  and  executed  in  that  way  several 
plates,  of  which  some  are  portraits.  We  have  the 
following  by  him  :" 

PORTRAITS. 
Sir  Godfrey  Kneller  ;  from  a  picture  hy  Kneller. 
Charles  II. ;  after  Kneller. 
James,  Duke  of  York  ;  after  the  same. 
Henry,  Duke  of  Grafton  ;  after  T.  Ilaivher. 
The  Duchess  of  Grafton  ;  after  Wissing. 
Charles  Melford  ;  after  the  same. 
Sir  Peter  Leiy  ;  Seipse,  pinx. 
George,  Prince  of  Denmark  ;  after  Riley. 
Henry  Compton,  Bishop  of  London ;  after  the  same 
Christopher,  Earl  of  Albemarle  ;  after  Murray. 
George,  Duke  of  Buckingham  ;  after  Verhelst. 
John  Maitland,  Duke  of  Lauderdale  ;  after  Eiley, 
Henry,  Duke  of  Norfolk. 

Thomas  Cartwright,  Bishop  of  Chester  ;  very  scarce 
Lady  Williams ;  full  length. 
Adrian  Beverland,  drawn  from  a  statue. 

SUBJECTS    AFTER    VARIOUS    MASTERS. 

The  Virgin  Mary  and  St.  Joseph,  with  the  Infant  Jesus 

asleep,  with  two  Angels ;  without  name  of  painter. 
Time  cutting  the  Wings  of  Love. 
A  Landscape,  with  a  Shepherd  and  Shepherdess. 
The  Dutch  Schoolmaster ;  after  Beemsherk. 
The  Village  Barber  Surgeon  ;  after  J.  Lingelbach. 

BECKMANN,  Karl,  landscape  and  architectural 
painter,  was  born  in  1799,  at  Berlin.  He  received 
his  art  education  chiefly  in  the  studio  of  Wach. 
During  1824  he  spent  a  short  time  in  Paris  ;  and 
passed  the  period  between  the  summer  of  1828  and 
the  spring  of  1833  in  Italy.  He  was  afterwards 
appointed  Professor  of  Architecture  and  Perspec- 
tive to  the  Royal  Academy  of  Berlin.  For  his 
pure  art-tendency,  although  he  was  engaged  in 
other  departments,  he  was  indebted  to  Wach,  and 
his  residence  in  Italy  increased  his  powerful  com- 
bination of  form  and  colour,  which  give  to  those 
pictures  of  his,  which  treat  chiefly  of  architectural 
subjects,  such  a  solid  vigorous  stamp.  He  died 
at  Berlin,  in  1859.     A  '  View  of  the  cloister  of  San 

106 


A  BIOGRAPHICAL  DICTIONARY  OF 


Benedetto,  near  Subiaco,  by  him,  is  in  the  National 
Gallery  at  Berlin. 

BECKWITH,  Thomas,  a  native  of  Yorkshire, 
was  first  apprenticed  to  a  house-painter  at  Wake- 
field, but  soon  displayed  talents  as  a  portrait 
painter;  he  also  made  many  drawings  of  the 
churches  in  the  neighbourhood.  He  latterly  re- 
sided t  York,  where  he  died  in  1786.  He  pub- 
Ushed  '  A  Walk  in  and  about  the  City  of  York.' 

BEDAFF,  Antonie  Aloisids  Emanuel  van,  an 
historical  and  portrait  painter,  was  born  at  Ant- 
werp in  1787.  Three  of  his  works,  'The  first 
Meeting  of  the  Estates  at  Dordrecht,' 'The  Last 
Interview  between  the  Prince  of  Orange  and  Count 
Egmont,'  and  '  The  Confederation  of  the  Nobles,' 
are  in  the  Gallery  at  Haarlem.  He  died  at  Brussels 
in  1829. 

BEDUSCHI,  Antonio,  a  native  of  Cremona, 
born  in  1576,  was  a  scholar  of  Campi,  whose 
manner  he  imitated.  He  is  mentioned  by  P. 
Carasi,  and  two  pictures,  painted  by  him  in  his 
26tli  year,  are  commended  for  the  promise  they 
give  of  future  excellence  :  one  is  the  '  Martyrdom 
of  St.  Stephen,'  and  the  other  a  '  Pieta,'  for  San 
Sepolcro  in  Piacenza.  The  time  of  his  death  is  not 
stated,  but  he  was  li\nng  in  1607. 

BEECHEY,  George  D.,  a  son  of  Sir  William 
Beechey,  followed  his  father's  profession.  From 
the  year  1817,  he  was  a  frequent  exhibitor  at  the 
Royal  Academy.  About  1830,  he  went  to  India, 
where  he  attained  great  celebrity,  and  was  made 
portrait  painter  and  Controller  of  the  Household  to 
the  King  of  Oude.  A  j  'rtrait  of  Hinda,  an  Indian 
lady  whom  he  married,  was  exhibited  in  the  Royal 
Academy,  London,  and  created  a  great  sensation 
at  the  time ;  but  he  died  early,  in  India,  about 
1856. 

BEECHEY,  Sir  William,  an  English  portrait 
painter,  bom  in  1753,  was  a  native  of  Burford  in 
Oxfordshire.  In  early  life  he  was  placed  with  a 
solicitor  at  Stow,  but  becoming  acquainted  with 
some  of  the  painters  of  the  day,  he  took  a  fancy  to 
art,  and  began  the  practice  of  portrait  painting. 
In  this  he  distinguished  himself  so  much  that  he 
was  patronized  by  George  the  Third,  and  was 
made  portrait  painter  to  Queen  Charlotte,  and  lived 
much  at  Windsor  as  instructor  to  the  princesses, 
who  entertained  the  strongest  regard  for  him  to 
the  end  of  his  life.  He  was  elected  an  Associate 
of  the  Royal  Academy  in  1793,  and  an  Academician 
in  1798.  He  painted,  in  1798,  a  '  Review  of  the 
Horse  Guards,'  in  which  the  portraits  of  George 
the  Third,  the  Prince  of  Wales,  and  the  Duke  of 
Y'ork,  were  introduced,  and  for  which  he  was 
knighted.  This  picture  is  now  at  Hampton  Court. 
He  at  one  time  attempted  fancy  subjects,  and 
'  The  Morning  Star '  and  '  The  Evening  Star,'  the 
portraits  of  his  daughter  Lady  Grantley  as  Hebe, 
of  Lady  Georgina  Bathurst  as  Adoration,  are 
beautiful  examples  of  his  skill  in  this  direction  ; 
but  finding  the  painting  of  good  likenesses  was 
more  profitable,  he  confined  himself  latterly  to 
that  style.  He  died  at  Hampstead,  in  1839.  In 
sixty-four  years  he  sent  no  less  than  362  portraits 
to  the  exhibitions  of  the  Royal  Academy. 

Dulwich.  Gallery.      Portrait  of  Charles  Small  Pybus,M.P. 
■>  .1  Portrait  of  John  Philip  Kemble. 

>i  ,.  Portrait  of  Sir  P.  F.  Bourgeois,  R.A. 

Hampton  Court.      )  ,  t.     .         .   ,     „ 

Palace,  j  ■*■  ^^view  of  the  Horse  Guards 
London.    Nat.  Gall.  Portrait  of  Joseph  Nollekens,  E.A., 
the  sculptor. 
106 


The  portraits  of  Sir  William  Beechey,  which  still 
adorn  the  public  halls  and  family  residences  of  the 
country,  are  celebrated  for  their  truth  to  nature, 
and  for  the  freshness  of  colour  which  they  still 
retain. 

BEECK,  Jan,  was  born  at  Looz,  and  was  a  monk 
of  the  convent  of  St.  Lawrence,  near  Lifege,  of 
which  he  became  the  abbot  in  1509.  He  is  con- 
sidered, after  the  brothers  Van  Eyck,  to  be  the 
most  distinguished  among  the  ancient  painters  of 
Liege.  He  painted  the  greater  number  of  the  pic- 
tures in  the  church  of  his  convent,  and  died  in  1516. 

BEECQ,  JKiN  Charles  Dominique,  a  Dutch 
marine  painter,  who  was  born  at  Amsterdam  about 
1640,  established  himself  in  Paris  about  1680,  and 
became  a  member  of  the  Academy  in  1681.  He 
died,  probably  in  Holland,  in  1722.  Some  of  his 
sea-pieces  have  been  engraved  by  Fouard. 

BEEKE,  A.  VAN,  who  lived  in  the  middle  of  the 
17th  century  at  Bodegraven,  in  Holland,  was  an 
excellent  painter  of  fruit-pieces,  dead  birds,  &c.  In 
the  Royal  Gallery  at  Vienna  is  a  still-life  subject. 

BEELDEMAKER,  Frans,  the  son  of  Jan  Beelde- 
maker,  was  born  at  the  Hague,  in  1669,  and  was 
first  instructed  by  his  father  ;  he  then  studied  under 
Willera  Doudyns,  an  historical  painter  of  some 
celebrity.  After  passing  some  years  in  Italy,  he 
returned  to  Holland,  where  he  was  employed  in 
painting  liistorical  subjects  and  portraits.  He  was 
admitted  a  member  of  the  Academy  at  the  Hague. 
In  1717  he  left  the  Hague  and  went  to  live  near 
Rotterdam,  where  he  died  at  a  very  advanced  age. 

BEELDEMAKER,  Jan,  a  Dutch  painter,  was 
bom  at  the  Hague  in  1630,  and  died  in  1680.  It 
is  not  said  by  whom  he  was  instructed,  but  he 
excelled  in  painting  boar  and  stag  hunts.  They 
are  chiefly  of  small  dimensions,  and  are  frequently 
seen  in  England. 

BEERINGS,  Gregorius,  was  born  at  Malines 
about  1500,  and  died  in  1570.  He  studied  in  Italy, 
and  produced  some  good  pictures  of  landscapes 
with  architectural  ruins ;  but  being  of  dissipated 
habits,  his  talents  were  never  fully  developed. 

BEERSKI,  Count  de,  miniature  painter,  was  a 
Russian  nobleman,  the  owner  of  an  estate  near 
Moscow,  who,  on  the  accession  of  the  Emperor 
Nicholas,  was  obliged  to  leave  Russia  on  account 
of  his  liberal  views.  Being  entirely  ruined  by  his 
enforced  exile,  and  having  a  taste  for  drawing,  he 
took  to  miniature  painting,  residing  in  Paris,  Ham- 
burg, and  London.  At  the  Great  Exhibition  in 
1851,  some  of  his  paintings  were  exhibited  and  ob- 
tained first-class  honours.  He  emigrated  to  America 
in  1859,  and  died  at  Rochester,  U.S.,  in  1869. 

BEERESTRAATEN,  Alexander,  is  the  name 
given  to  the  author  of  three  paintings,  signed  A. 
Beerestraaten,  in  the  Galleries  of  Berlin,  St.  Peters- 
burg, and  Copenhagen.  M.  Havard  denies  his 
existence,  and  considers  the  Berlin  and  St.  Peters- 
burg pictures  to  be  by  the  hand  of  Jan  Beere- 
straaten, of  whom  Alexander  is  supposed  to  have 
been  a  brother. 

BEERESTRAATEN,  Jan,  was  born  at  Amster- 
dam in  1622,  and  was  christened  on  the  Slst  of 
May  in  the  old  parish  church.  His  father,  Abraham 
Jans,  a  cooper,  assumed  the  name  of  Beerestraaten, 
probably  because  he  resided  in  the  Beeren-straat. 
In  1642  Jan  married  Magdalena  van  Bronckhorst, 
who  bore  him  five  children.  He  finally  died  at 
Amsterdam,  it  is  supposed,  in  1687.  Jan  Beere- 
straaten is  essentially  an  Amsterdam  painter.  _  He 
was  born,  painted,  and  died  in  that  city  ;  and  it  is 


SIR  W.  BEECHEY 


THE  BROTHER  AND  SISTER 


[/-L'^/Z7V,  Parti 


PAINTERS  AND  ENGRAVERS. 


in  Amsterdam  that  his  best  works  must  be  sought 
to  this  day.     His  pictures  consist  of  coast-scenes 
and  views  in  towns,  with  figures. 
Amsterdam.  Gallery,    The  Boatmen's  House,    i  beeee- 

STRATEN. 

„  „  Kuins  of   the  Old  Town-HaU  at 

Amsterdam.,   i  beerestraaten. 

„  „  Sea    fight    between    English    and 

Dutch.      I  BEER-STRAATEN. 

„         Town  Hall.  View   of   the   Dam,  Amsterdam. 

J.  BEERESTHATEN  FT 

„  „  View  of  Amsterdam  taken  from 

the  Y.      JOAN   BERnSTEAATEN. 

Six  Coll.     The  Chapel  of  St.  Olof  at  Amster- 
dam.     BEERSTRAET. 

Berlin.  Museum.     Winter      Landscape,      j.     bkhr- 

STEAATEN.       1664. 

Paris.  Louvre.     The  Old  Port  of  Genoa,   johakjtes 

BEERSTRAATEN    FECIT. 

Rotterdam.  Museum.    View  of  Mayence.     1654. 

(For  further  information,  see  'L'Art  et  les  Artistes 

Hollandais,'  by  Henry  Havard,  part  iii.,  1880.) 

BEESTEN,  A.  H.  van,  a  Dutch  painter  of  por- 
traits and  bassi-rilievi,  in  which  it  is  said  that  he 
excelled ;  but  being  a  man  of  great  modesty,  he 
suffered  others  to  turn  his  talents  to  their  profit. 
He  lived  in  the  middle  of  the  18th  century. 

BE6A,  Abr.  Corn.     See  Begeijn. 

BEGA,  CoRNELis  PiETERSZ,  who  was  bom  at 
Haarlem  in  1620,  was  the  son  of  a  sculptor  called 
Peter  Begijn  (or  Beggijn),  and  Houbraken  tells  us 
that  he  changed  his  family  name  to  Bega,  on 
account  of  some  irregularities  of  conduct,  which 
had  occasioned  his  father  to  disown  him.  This  is 
doubted  by  recent  writers,  who  think  that  perhaps 
Bega  is  only  another  form  of  Begijn.  Bega  was 
a  scholar  of  Adrian  van  Ostade ;  and  though  his 
pictures  are  not  equal  to  the  admirable  productions 
of  that  master,  they  have  sufficient  merit  to  rank 
him  amongst  the  most  interesting  artists  of  his 
country.  His  pictures,  like  those  of  Van  Ostade, 
represent  Dutch  peasants  regaling  and  amusing 
themselves,  and  the  interiors  of  Dutch  cottages. 
He  treated  those  subjects  with  a  most  humorous 
delineation  of  character ;  and  his  pictures  are  de- 
servedly placed  in  the  choicest  collections.  He 
became  a  member  of  the  Guild  of  St.  Luke  in 
1654  ;  and  died  at  Haarlem  in  1664,  of  the  plague, 
caught  while  attending  a  lady  suffering  from  that 
disease,  to  whom  he  was  to  have  been  married. 
The  following  are  some  of  his  best  works  : 

The  Philosopher. 

Peasants  concert. 

Lady  playing  the  lute. 

Peasant  Family. 

Alehouse. 

Interior. 

The  Chemist  {signed  and  dated  1661) . 

Peasants  dancing  (sianed). 

Groups  of  players. 

A  man  playing  the  lute. 

A  woman  playing  the  lute. 

Interiors  (three). 

Interior  of  an  Inn. 

Interior. 

Interior  (signed  and  dated  1652). 

Interiors. 


Amsterdam.  Museum. 
Berlin.  Gallery. 


Cassel. 


Dresden. 
Florence. 


Gallery. 

Gallery 
UJizi. 


Frankfort.     Stddel. 
Hague.  Galleri/. 

Munich.      PitutkotJc. 
Paris.  Louvre. 

Petersburg.  Hermitage. 

He  left  about  thirty-seven  etchings,  among  which 
are  the  following : 
An  interior  of  an  Alehouse,  with  three  Peasants,  one 

with  a  Goblet  in  his  Hand. 
A  Sketch  of  two  Peasants  and  a  Boy. 
The  interior  of  a  Dutch  Cottage,  a  Man  with  a  Pitcher, 

another  Peasant  with  a  woman  and  a  Child. 
A  Man  leaning  on  a  Table,  and  his  Wife  suckling  o 
Child. 


A  Company  of  five  Men  and  Women  regaling. 
Company  regaling,  a  Woman  pouring  out  Wine. 
Eight  Peasants,  two  are  playing  Cards  ;  very  scarce. 

BEGARELLI,  Antonio  (called  by  Vasari,  Bbga- 
UINO).  This  artist  is  not  introduced  here  as  a 
painter,  but  rather  as  a  designer  and  modeller, 
whose  works  may  rank  with  those  of  contemporary 
painters,  with  whom  he  seems  to  have  been  in  close 
connection.  He  was  born  at  Modena,  about  the  year 
1498,  and  is  said  to  have  been  instructed  by  Gio- 
vanni dell'  Abbate,  the  father  of  the  painter  Niccol6. 
Begarelli  worked  chiefly  at  Modena,  where  many 
churches  are  decorated  with  his  plastic  compositions 
in  terra-cotta  ;  and  in  his  later  years  also  at  Parnia. 
These  are  free  standing  figures,  nearly  life-size, 
grouped  together  above  altars  in  the  chapels,  and 
apparently  intended  to  replace  pictures.  This 
peculiar  adaptation  of  plastic  works  was  first  used 
at  Modena  by  Guido  Mazzoni  (died  1618),  called 
II  Modanino,  a  highly-gifted  artist  of  realistic 
tendencies.  They  form  a  specialty  of  Modenese 
art.  The  assertion  that  Begarelli  was  associated 
with  Correggio  seems  to  be  incorrect.  It  has  been 
supposed  (by  Vidriani,  1662),  that  Begarelli  made 
the  models  from  which  Correggio  painted  many  of 
his  floating  figures,  and  even  instructed  his  friend 
in  the  art  of  modelling.  Begarelli's  figures  have 
a  far  closer  resemblance  to  those  of  the  Ferrarese 
painter  Garofalo  than  to  those  of  Correggio.  They 
have  the  same  types  as  the  former  used,  and  his 
draperies  are  similarly  arranged.  Whilst  Maz- 
zoni's  terra-cotta  figures  are  painted  in  variegated 
colours,  Begarelli  painted  them  entirely  in  white. 
Vasari  relates  that  "  Michelangelo,  when  passing 
through  Modena,  saw  many  beautiful  figures  which 
the  Modenese  sculptor,  Mae.stro  Antonio  Begarino, 
had  made  of  terra-cotta,  coloured  to  look  like 
marble,  which  appeared  to  him  to  be  most  excel- 
lent productions ;  and,  as  that  sculptor  did  not 
know  how  to  work  in  marble,  he  said,  '  If  this 
earth  were  to  become  marble,  woe  to  the  antiques.'  " 
BegarelU  died  in  1665.  J.  P.  R. 

BEGAS,  Karl,  a  German  painter  of  historical 
subjects,  genre,  and  portraits,  was  born  atHeinsberg, 
near  Aix-la-Chapelle,  in  1794.  Whilst  yet  a  boy  he 
evinced  a  talent  for  painting,  in  which  he  received 
some  instruction  from  Philippart,  whilst  pursuing 
the  usual  course  of  study  at  the  University  of 
Bonn.  In  1812  he  went  to  Paris,  where  he  passed 
eight  months  in  the  atelier  of  Gros.  The  King  of 
Prussia,  when  in  Paris  in  1814  and  1815,  appre- 
ciated the  talents  of  Begas,  and  made  him  an 
allowance,  which  enabled  him  to  visit  Italy  to 
study  the  works  of  the  great  masters.  In  1825  he 
went  to  Berlin,  where  he  fixed  his  residence,  and 
became  a  member  and  professor  of  the  Academy 
of  Arts.  He  died  there  in  1864.  His  principal 
paintings  are : 

Job  and  his  Friends.     1816. 

Christ  on  the  Mount  of  Olives.    1818.    In  the  Garrison 
Church  at  Berlin. 

The  Descent  of  the  Holy  Ghost.    1820.    In  the  Cathe- 
dral, Berlin. 

Tobias  and  the  Angel.     1826  (ent/raved  by  Berger). 

The  Resurrection.     182T  (engraved  by  Fischer). 

Tobias  and  the  Angel.    1827.     In  the  National  Gallery, 
Berlin. 

Lorelei.     1835  (engraved  by  MandeV). 

The  Sermon  on  the  Mount.    1842.    In  the  church  of 
Landsberg. 

The  Transfiguration. 

Christ  carrying  his  Cross. 

Henry  IV.  at  the  Castle  of  Canossa. 

Young  Girl  under  an  Oak  Tree. 

107 


A  BIOGRAPHICAL  DICTIONARY  OF 


PORTRAITS. 
Himself,  in  the  Wallraf  Museum,  Cologne. 
His  Parents.  „  „  » 

ThorwaUlsen,  in  the  Berlin  Gallery. 
Queen  of  Bavaria.  Meyerbeer. 

Cornelius.  Sclielling. 

Bitter.  Buch, 

Schadow.  Bauch. 

Humboldt.  Eadowitz. 

BEGAS,  OsKAR,  painter,  was  bom  in  Berlin, 
July  31,  1828.  He  was  the  son  of  Carl  Begas, 
from  whom  he  received  his  first  teaching.  In  1852 
lie  won  a  premium,  which  enabled  him  to  travel  to 
Italy.  He  worked  in  Rome  for  some  time,  and 
there  painted  a  '  Descent  from  the  Cross '  for  the 
church  of  St.  Michael  at  Berlin.  He  then  visited 
France  and  England,  and  on  his  return  to  Berlin 
devoted  himself  to  portrait  painting  and  decoration. 
In  1866  he  became  Professor  at  the  IJerlin  Academy. 
On  settling  down  in  Germany,  he  became  Com- 
missioner for  the  Berlin  Museum  and  Professor  of 
his  old  Academy.  His  'Italian  Peasants  gossiping 
around  a  Fountain'  (1853)  is  in  tlie  Nat.  Gallery,- 
Berlin,  and  in  that  city  he  died  in  November,  1883. 

BEGEIJN,  Abraham  Cornelisz,  (or  Bega,)  a 
native  of  Holland,  born  in  1650,  painted  landscapes 
and  cattle,  in  the  style  of  Berchem,  and  his  pictures 
of  those  subjects  are  very  justly  admired.  His 
pencil  is  light  and  free,  and  his  colouring  is  very 
agreeable.  His  principal  residence  was  at  Berlin, 
where  his  works  were  highly  esteemed,  and,  accord- 
ing to  Houbraken,  he  was  principal  painter  to  the 
Elector  of  Brandenburg,  afterwards  King  of  Prus- 
sia. He  also  worked  at  the  Hague.  In  several 
of  the  collections  in  Holland,  the  pictures  of  this 
master  are  placed  among  the  most  admired  painters, 
and  they  are  held  in  considerable  estimation  in  this 
country.  Many  Continental  galleries  contain  ex- 
amples of  his  art ;  there  are  three  in  the  Copen- 
hagen Gallery ;  two  in  the  Hermitage,  St.  Peters- 
burg; the  Dresden  Gallery  .ind  the  Louvre  have 
each  a  '  Landscape  with  goats,'  and  the  Berlin 
Gallery  an  '  Italian  Landscape  with  cattle.'  Unfor- 
tunately for  Begeijn's  reputation  in  England,  his 
best  works  are  here  ascribed  to  Berchem,  and  are 
frequently  altered  to  give  a  nearer  approximation 
to  that  painter's  manner.  Begeijn  died  suddenly 
with  the  palette  in  his  hand  in  1697,  at  Berlin. 
Various  forms  of  spelling  his  name  occur. 

BEGER,  Laurentius.  According  to  Professor 
Christ,  this  artist  was  the  nephew  of  Laurentius 
Beger,  the  celebrated  German  antiquary,  who  was 
librarian  to  Frederick  William,  Elector  of  Branden- 
burg. He  engraved  a  set  of  twelve  anatomical 
plates,  taken  from  the  designs  in  the  book  on 
Anatomy  by  Vesalius.  He  is  also  believed  to 
have  executed  the  greater  part  of  the  plates  of 
antiquities,  published  by  his  uncle,  entitled  The- 
saurus Brandenhurgicus.  He  flourished  towards 
the  close  of  the  17th  century. 

BEHAM,  Barthel,  (Behaim,  or  Behem,)  a  Ger- 
man painter,  and  very  eminent  engraver,  bom  at 
Nuremberg  in  1502.  He  was  the  younger  brother 
of  the  celebrated  Hans  Sebald  Beham,  and,  accord- 
ing to  Sandrart,  resided  chiefly  in  Italy,  whither 
he  had  been  sent  by  Duke  William  of  Bavaria,  to 
whom  he  had  gone  on  being  expelled  from  Nurem- 
berg for  his  heretical  opinions.  He  died  in  Italy, 
about  1540.  The  following  are  the  pictures  attri- 
buted to  him  by  Rosenberg : 

Adoration  of   the   Magi  ;   an  altar-piece  with  wings, 
painted  wifcli  different  subjects 
108 


Christ  on  the  Cross,  with  Mary  and  John,  and  the 
Magdalene  kneeling. 

The  Virgin  with  the  holy  Child,  standing  on  the  Half- 
Moon,  two  angels  crowning  her ;  formerly  an  altar- 
piece  with  wings,  painted  with  different  subjects. 

Virgin  with  the  holy  Child  at  her  breast,  and  St.  Anna 
with  two  wings,  painted  with  saints. 

Four  small  pictures,  formerly  wings  of  an  altar-piece, 
SS.  Afra,  Paul  the  hermit,  Antony  of  Padua,  and 
Jacobus  the  elder. 

[AH  these  are  at  Donaueschingen,  in  the  Eoyal  Gallery.] 


Berlin. 


Christ  on  the  Mount  of  Olives. 

SS.  Catharine,  Paul,  and  Agnes,  on  a  gold 

ground. 
SS.  Crispin  and  Crispianus,  also  on  a  gold 

ground. 
The  Flagellation,  with  wings ;  painted  with 

saints. 
Christ  bearing  His  cross. 
The  Entombment. 
St.  Bruno. 

St.  Jerome  in  Cardinal's  habit. 
Portrait  of  the  Duke  of  Bavaria  and  his 

wife. 
Portrait  of  Duke  Otto  Henry. 
Wings  of  an   altar  -  piece  ;   painted  with 

whole-length  figures  of  saints. 
SS.  Christopher  and  Andrew 


Carlsruhe. 

Nuremberg. 
Stuttgart. 

Cologne. 
Prague. 

Augsburg. 
Sigmaringen. 

Wurtsburg. 

Waagen  mentions  two  more,  the  principal  being 
a  Trinity  with  Mary,  Andrew,  and  angels,  and  at 
Schleissheim  are   the  portraits  of  all  the  princes 
aad  princesses  of  the  reigning  family  ;  fifteen  in  , 
number.     We  believe  some  of  these  works  men-t 
tioned  above  are  doubtful. 

He  is,  however,  more  a  designer  in  engraving  ] 
than  a  painter,  and  may  be  considered  as  having  ] 
been  one  of  the  most  excellent  draughtsmen  and 
skilful  engravers  of  the  German   school.     Many 
of  the  plates  by  this  master  being  without   any 
designating  mark,  has   led  occasionally  to  some  I 
difficulty  and  mistake.     The  prints  that  bear  his  | 
signature  are  marked  BB.  sometimes,  and  are  dated 
from  1520  to  1533.     The  following  list  gives  his  | 
engravings  on  the   best  authority,  that  of   Herr 
Rosenberg  already  quoted : 

PORTRAITS. 

Louis,  Duke  of  Bavaria. 

Bust  of  Erasmus  Balderman.     1535. 

Bust  of  Leonard  van  Eck. 

The  Emperor  Charles  V. ;  marked  BB 

Ferdinand  I. ;  same  mark. 

VARIOUS  SUBJECTS. 

1.  AdanQ  and  Eve.    Adam  holds  a  flaming  sword  in  j 

his  right  hand,  and  takes  the  apple  from  Eve  with  ' 
his  left. 

2,  3, 4.  Three  small  prints. 

5.  Mary  with  the  holy  Child.    A  skull  at  the  right. 

6.  „        „  „  „    at  a  window    A  vase  with 

flowers. 

7.  „        „  „  „    a  parrot    in    the  Child's  I 

hand. 

8.  „        suckling  the  Child  at  an  open  window.    This  ! 

and  some  others  of  the  above  not  certainly 
meant  for  the  Madonna. 

9.  Mary  with  the  Child  sitting  on  a  rock. 

10.  Head  of  Christ  with  the  crown  of  thorns. 

11.  St.  Christopher. 

12.  St.  Chrysostom's  penance :  the  Mother  and  Ohild  j 

in  the  background. 

13.  St.  Severinus,  with  crosier. 

14.  Apollo  and  Daphne. 

15.  Hercules. 

16.  A  naked  man,  possibly  Neptune. 

17.  „  „         with  a  sword. 

18.  Triumph  car,  of  Mars  and  Venus  (?),  with  other  ] 

figures. 


PAINTERS  AND  ENGRAVERS. 


19.  Cupid  partially  clothed,  riding  on  a  dolphin. 

20.  „  „  „  .,  a  globe,  over  a 

landscape. 

21.  Flora. 

22.  A  Nereid  riding  on  a  Triton,  towards  the  left. 

23.  „  „  „  „     towards  the  right. 

24.  Fight  of  water-gods. 

25.  A  Sibyl  with  book  ;  before  her  a  child  with  a  torch  ; 

after  Baphael, 

26.  The  Judgment  of  Paris. 

27.  The  Rape  of  Helen ;  a  compo.  of  thirteen  figures. 

28.  Lucretia. 

29.  30.  Also  Lucretia. 

31.  Cimon  nourished  by  his  daughter. 

32.  Cleopatra  with  the  snake  at  her  breast. 

33.  Fight  of  naked  men ;  thirty-four  figures ;  on  a  label 

"  Titus  Uracchus." 

34.  „  „  „      eighteen  figures. 

35.  „  „  „  twenty  -  two  figures.  These 
three  prints  are  in  the  form  of  frieses.  They  are 
the  master-work  of  Barthel  Beham,  and  may 
he  considered  the  most  excellent  works  in  point 
of  drawing  of  the  early  German  school. 

ALLEGORIES,  &C. 

36.  A  naked  woman  sitting  on  a  shirt  of  mail.  (Valour?) 

37.  A  sitting  female  figure ;  inscribed, '  Cognitio  Dei.' 

38.  39, 40.    A  child  sleeping,  with  one,  three,  and  four 

death's  heads.     '  Mors  Omnia  Jiquat '  on 
the  last. 

41.  A  naked  woman  sitting  on  the  ground,  looking  at 

a  dead  child.  A  naked  man  standing  on  the 
left;  very  curious,  A  long  inscription  from 
Eccles. 

42.  "Woman   with  hands  and  feet  tied,  \\ith  a  child; 

inscribed  '  Der  Welt  Lauf .' 

43.  Death  surprising  a  woman  on  a  bed. 

Thirteen  other  allegoric  miniatures,  or  of  subjects  taken 
from  actual  life,  peasants  or  soldiers.  Also  thirty-one 
representing  genii,  ornaments,  and  heraldic  matters.  Al- 
together, with  the  portraits,  ninety-two  copper  eugiariags. 
No  woodcuts.  W.  B.  S. 

BEHAM,  Hans  Sebald,  a  distinguished  German 
engraver,  was  born  at  Nuremberg  in  1600.  He 
■was  the  elder  brother  of  Barthel  Beham,  and  is 
also  dassed  by  the  collectors  among  what  they 
denominate  the  Little  Masters  on  account  of  their 
prints  being  generally  small.  Hans  Sebald  Beham 
engraved  on  copper,  drew  on  wood,  and  some  few 
etchings  have  been  attributed  to  him.  He  pos- 
sessed considerable  genius,  and  a  ready  invention. 
His  drawing  of  the  figure  is  generally  correct,  and 
the  airs  of  his  heads  and  turn  of  his  figures, 
though  rather  clumsy,  have  great  style.  His  cop- 
per-plates are  executed  entirely  with  the  graver, 
in  a  wonderfully  neat  and  delicate  manner ;  and 
his  woodcuts  are  remarkably  free  and  spirited. 
In  the  early  part  of  his  life,  he  lived  at  Nurem- 
berg, during  which  time  he  marked  his  pl.ites  with 
a  cipher,  composed  of  the  three  letters,  H.  S-  P-, 
and  dated  from  1519  to  1530.  He  was  expelled 
for  heresy,  and  afterwards  resided  at  Frankfort, 
when  he  changed  his  mark  to  a  cipher  TryT-^w 
composed  of  H.  S-  B.,  and  dated  from  r  \  t< 
1531  to  1549.  He  died  in  1550,  at  Frank-  ^^U 
fort.  Examples  of  his  works  as  a  painter  are  very 
scarce.  In  the  Louvre,  Paris,  there  is  a  table  with 
four  scenes  from  the  Life  of  David,  and  there  are 
five  miniatures  by  him  in  the  prayer-book  of  the 
Cardinal  Albrecht  of  Brandenburg,  in  the  Library 
of  AschafEenburg.  His  works  on  copper  are  very 
numerous  ;  the  following  list  is  as  detailed  as  the 
necessary  limit  of  this  work  will  permit : 

PLATES   WITHOUT   THE   CIPHER, 

Engraved  at  Nuremberg,  and  dated  from  1510  to  1530. 

Adam  and  Eve  in  several  designs ;  five  small  plates. 
1519. 


St.  Jerome,  with  a  Cardinal's  Hat  and  the  Lion.    1519. 

The  Virgin  suckling  the  Infant  Jesus.    1520. 

The  Virgin,  with  a  Glory,  standing,  holding  the  Infant 

Jesus.     1520.     Six  of  the  Virgin  in  all. 
The  Death  of  Dido  ;  Eeginte  Didonis  imago.     1520. 
St.  Anthony,  Hermit,  writing.     1521. 
St.  Sebald  seated  between  two  trunks  of  trees,  and 

holding  in  his  right  hand  the  model  of   a  church. 

1521. 
Two  Peasants  playing  on  the  flute  and  bagpipe  ;  very 

small. 
Two  Peasants,  Man  and  Woman,  dancing.     1522  ;  very 

small. 
A  Triton  carrying  a  Nereid  on  his  shoulders.    1523; 

very  small. 
A  Woman  sitting  on  a  Lion.     1524. 
A  Young  Man  and  Woman  embracing.     1526. 
The  Death  of  Cleopatra.     1529. 

Combat  of  the  Greeks  and  Trojans  ;  very  small,  friese. 
Combat  of  Achilles  and  Hector  ;  same. 
Judith  with  the  head  of  Holofemes ;  her  maid  beside 

her. 

PLATES    WITH    THE   CIPHER. 
Engraved  at  Frankfort,  and  dated  froTti  1531  to  1549. 

Adam  and  Eve,  behind  them  a  stag.     1536. 

Adam  and  Eve  in  Paradise,  with  the  Serpent  presenting 
the  apple.     1543  ;  very  fine. 

The  Emperor  Trajan,  with  his  army,  listening  to  the 
complaint  of  a  woman  against  his  son.    1537. 

Melancholy  ;  inscribed  Melencolia.  1539  ;  in  emulation 
of  Albrecht  iJiirer. 

Patience  ;  inscribed  Patientia  ;  on  a  tablet  is  written, 
Sebaldus  Beham  JVoHnis  faciebat.     1540. 

Fortuna  ;  a  woman  holding  a  palm  and  a  wheel.     1541. 

Infortunium ;  a  woman  stopped  by  an  evil  genius 
with  a  lobster.     1541. 

A  Young  Woman,  with  a  buffoon,  presenting  fruit ;  an 
etching.     1540. 

Four  very  small  plates  of  the  Four  Evangelists,  with 
wings.     1541. 

Twelve  small  plates  of  the  Labours  of  Hercules ;  in- 
scribed ./ErKmiiff  Herculis  ;  dated  from  1542  to  1548. 

An  Ensign  and  a  Drummer.     1544. 

The  Boman  Charity,  with  a  German  inscription.  1544  ; 
fine. 

The  Arms  of  Beham.     1544. 

Bust  of  Domitia  Cal\nlla,  with  the  Emperor  Trajan  ; 
after  Antique  Mcdah.     1546. 

The  Twelve  Months  of  the  Year,  each  represented  by  a 
Man  and  AVoman  dancing  ;  two  Months  on  one  plate  ; 
six  small  plates.  1545.  Added  to  these  are  four 
Village  Merry-makings,  and  many  peasant  subjects ; 
very  small. 

The  twelve  Apostles.     Very  small  set  of  twelve. 

Days  of  the  week  with  their  planets.     Eight  pieces. 

The  Liberal  Arts.    Set  of  seven  allegorical  figures. 

Two  couples  making  love  and  a  buffoon.  Very  small, 
little  more  than  two  inches  long.  This  is  said  by 
Bartsch,  No.  212,  to  be  one  of  his  most  beautiful 
miniature  engravings.  The  two  shields  of  arms,  one 
with  a  cock,  the  other  an  eagle,  are  also  among  his 
finest  in  execution. 

"Bhe  Judgment  of  Paris  ;  Judicium  Paridis.    1546 ;  fine. 

Death  walking  with  a  lady  ;  inscribed  Omnem  in  homine, 
4-c.    1547  ;  fine. 

A  Man  trying  to  pull  up  a  tree ;  inscribed  Imvossibile, 
1549. 

The  Virgin  holding  the  Infant  Jesus  in  her  arms,  with 
a  parrot  and  an  apple  ;  .S'.  Maria.  1549.  This  and  a 
good  many  others  he  copied  from  his  brother  Barthel, 
the  sale  for  whose  works  must  have  been  enormous. 

WOODCUTS, 
Which  are  sometimes  marked  loith  the  one  and  sometimes 
mth  the  other  of  his  two  ciphers.     These  are  of  all  sizes, 
from  two  inches  to  four  feet  long,  four  or  more  sheets 
being  put  together. 

Public  controversy  between  Lnther  and  a  Boman  theo- 
logian: many  people  listening. 

The  Fountain  of  Youth ;  a  superb  composition  of  great 
length  ;  one  of  his  finest  inventions. 

The  Cavalier  and  nine  wives. 

109 


A  BIOGRAPHICAL  DICTIONARY  OP 


The  Bath :  many  women  and  children  bathing  (ronnd).  ! 

Military  fete  in  honour  of  Charles  V.  at  Munich.  Very 
large. 

The  Patriarchs  with  their  wives  and  children  ;  ten  prints. 

Fourteen  Caesars,  busts,  on  three  sheets. 

An  immense  series  of  the  costumes  of  monks. 

A  Tillage  Fair,  with  a  steeple  and  a  clock  ;  large  friese ; 
very  scarce. 

A  March  of  Soldiers  ;  large  friese,  in  four  sheets  ;  very 
scarce. 

Another,  same  size :  full  of  figures. 

Biblicse  Historise — Comprising  three  hundred  and  forty- 
eight  prints,  of  which  the  greater  part  have  figures 
on  both  sides. 

For  a  full  account  of  his  works  see  Bartsch,  tom. 
VIII.  Also  Adolf  Rosenberg.  Sebald  and  Barthel 
Beham,  Leipsic,  1875.  tv.  B.  S. 

BEICH,  Joachim  Fbanz,  was  bom  at  Ravens- 
burg,  Wurtemberg,  in  1666.  He  was  the  eon  of 
Wilhelm  Beich,  a  painter  of  little  celebrity, 
from  whom  he  received  his  instruction  in  the  art. 
He  excelled  in  painting  landscapes  and  battles. 
His  best  works  are  in  the  palaces  of  the  Elector  of 
Bavaria,  in  whose  employment  he  was  for  several 
years ;  among  these  are  several  large  pictures  of 
the  battles  fought  in  Hungary  by  the  Elector 
Maximilian  Emmanuel.  With  the  permission  of 
his  patron,  he  visited  Italy,  and  made  many  draw- 
ings from  the  beautiful  -v-iews  in  that  country. 
His  landscapes  exhibit  very  pleasing  scenery,  and 
he  appears  to  have  imitated,  in  the  arrangement  of 
his  pictures,  the  tasteful  style  of  Gaspar  Poussin. 
He  died  at  Munich,  in  1748.  The  Vienna  Gallery 
has  two  landscapes  by  him,  and  the  Munich  Gallery 
has  four.  The  latter  gallery  also  possesses  his 
portrait  by  Des  Maries — "  painted  in  1744,  when 
he  was  78  years  old."  As  an  engraver,  he  has 
contributed  several  charming  etchings  to  the  port- 
folios of  collectors.  We  have  by  him  four  sets  of 
landscapes,  with  figures  and  buildings  (amounting 
together  to  twenty-six  plates),  etched  with  great 
spirit  and  facility. 

BEIJER,  J.  DE.     See  De  Beijer. 

BEIJEEEN,  Abraham  van,  a  painter  of  still-life, 
flourished  at  the  Hague  from  about  1650  to  1670. 
His  favourite  subjects  are  fish,  but  he  also  adorns 
his  pictures  with  flowers  and  fruit,  and  gold  and 
silver  vessels.  The  Galleries  of  Berlin,  Dresden, 
the  Hague,  Rotterdam,  and  Amsterdam  have  each 
a  work  of  this  nature,  each  signed  A.  V.  B.  He  is 
by  some  called  Albert  van  Beijeren ;  but  this  is 
asserted  by  Kramm  to  be  an  error. 

BEIN,  Jean,  a  French  engraver,  bom  at  Stras- 
burg  in  1789,  was  a  pupil  of  David  and  of  Reg- 
nault,  and  entered  the  lEcole  des  Beaux-Arts  in 
1812.  He  engraved  the  Kiccolini  Madonna  after 
Raphael,  the  original  of  which  is  in  the  collection 
of  Earl  Cowper  at  Panshanger,  '  The  Marriage  of 
the  Virgin,'  after  Vanloo,  for  the  Musee  Royal, 
and  plates  for  the  Coronation  of  Charles  X.,  and 
G.avard's  Galeries  de  Versailles.  Bein  died  in  Paris 
in  1857. 

BEINASCHI.     See  Benaschi. 

BEISSON,  Frani^ois  Joseph  Etienne,  a  French 
engraver,  bom  at  Ais,  was  a  scholar  of  Wille.  He 
engraved  several  subjects  after  the  Italian  masters 
for  the  Galerie  du  Mus^e,  and  'Susannah  at  the 
Bath,'  after  Santerre.     He  died  in  Paris  in  1820. 

BEITLER,  Matthias.     See  Bettler. 

BELBRULE,  T.,  a  French  engraver  on  wood, 
flourished  about  the  year  1580.  Papillon  mentions 
some  cuts  of  ornamental  flowers  very  delicately 
executed  by  him. 

110 


BELIN  DE  FONTENAY,  Jean  Baptiste  (mis- 
called Blain  de  Fontenat),  a  French  artist,  bom 
at  Caen  in  1654,  was  the  son  of  a  painter  named 
Louis  Belin,  and  a  pupil  of  Monnoyer,  better  known 
as  Baptiste,  whose  daughter  he  married  in  1687,  in 
which  year  he  was  received  into  the  Academy. 
He  painted  flowers  and  fruit  in  the  manner  of  his 
master.  He  had  a  delicate  pencil  and  a  good  eye 
for  colour ;  he  painted  insects  with  great  exact- 
ness, and  finished  all  his  pictures  carefully.  He 
was  employed  by  Louis  XIV. — who  gave  him  lodg- 
ings in  the  Louvre  and  a  pension  of  400  livres — 
at  Fontainebleau,  Versailles,  and  at  the  Gobelins. 
Belin  de  Fontenay  died  in  Paris  in  1715.  Two 
flower-pieces  by  him  are  in  the  Louvre.  His  son, 
Jean  Baptiste  Belin  de  Fontenay,  who  was  bom 
in  Paris  in  1688,  and  died  there  in  1730,  also 
painted  flowers  with  much  success. 

BELJAMBE,  Pierre  Guilladme  Alexandre,  a 
French  engraver,  was  bom  at  Rouen  in  1759,  and 
died  about  1820.  He  engraved  some  plates  of 
fancy  subjects,  from  the  contemporary  painters 
of  his  country,  and  a  few  prints  for  the  collection 
of  the  Palais  Royal ;  among  others  the  following: 

Portrait  of  PUatre  de  Rosier. 

Portrait  of  Jean  Sylvain  BaiUy,  Mayor  of  Paris ;  afier  1 

C.  Monet.  j 

Cupid  reposing  on  the  breast  of  Psyche ;  after  J.  B.  j 

Kegnaiilt. 
La  petite  Jeannette ;  after  J.  B.  Greuze. 
The  Circumcision  ;  after  Gio.  Bellini ;  for  the  Orleans 

Collection. 
The  Adoration  of  the  Magi ;  after  Carlo  Cagliari ;  for 

the  same. 
The  Holy  Family ;  after  Michelangelo ;  for  the  same. 

BELBLA.MP,  Jan  van,  a  Dutch  artist,  who  passed 
the  greater  part  of  his  artistic  life  in  England, 
where  he  was  much  employed  in  copying  the  pic- 
tures in  the  Royal  Collection,  and  died  in  1653. 
Some  are  still  in  the  Royal  Collection ;  and  at 
Drayton  there  were  formerly  portraits  of  Henry 
VII.  and  Henry  VIII.,  copied  from  a  large  picture 
by  Holbein,  which  was  burnt  at  Whitehall. 

BELL,  Lady,  the  sister  of  William  Hamilton. 
R.A.,  received  instruction  from  her  brother  and 
from  Sir  Joshua  Reynolds.  She  delighted  in  copy- 
ing the  pictures  of  the  latter,  and  was  happy  in  her 
transcripts.  She  also  copied  pictures  by  Rubens  in 
Carlton  House,  among  which  was  a  '  Holy  Family ' 
which  was  much  praised.  She  married  Sir  Thomas 
Bell,  SherifiE  of  London,  whose  portrait  she  painted, 
and  died  in  1825. 

BELL,  Robert  Charles,  an  engraver,  was 
bora  at  Edinburgh  in  1806.  He  was  a  pupU  of 
John  Bengho,  and  at  the  same  time  attended  the 
classes  at  the  Trustees'  Academy,  Edinburgh,  then 
under  Sir  William  Allan,  R.A.,  P.R.S.A.  Among 
several  pictures  for  the  Royal  Scottish  Association, 
he  engraved  '  The  Widow,'  after  Sir  W.  Allan,  and 
'  The  Expected  Penny,'  after  A.  Eraser ;  he  also 
executed  a  number  of  engravings  after  Mulready, 
Wilkie,  Leslie,  Faed,  and  other  well-known  artists, 
for  the  '  Art  Journal.'  His  last  work  was  a  large 
plate  after  Sir  W.  Allan's  picture,  '  The  Battle  of 
Preston  Pans,'  which  he  completed  only  a  short 
time  before  his  death.  In  his  earlier  days  he 
executed  a  considerable  number  of  vignette  por- 
traits, of  which  those  of  Professor  Wilson  and  Dr. 
L.  Brunton  were  among  the  best.  He  died  in  his 
native  city  in  1872. 

BELL,  William,  who  was  bom  at  Newcastle- 
upon-Tyne,  about  1740,  came  to  London  about  the 
year  1768,  and  was  among  the  first  who  entered 


PAINTERS  AND  ENGRAVERS. 


as  students  in  the  Royal  Academy.  In  1771  he 
obtained  the  gold  medal  for  a  picture  representing 
'  Venus  soliciting  Vulcan  to  forge  arms  for  ^neas.' 
He  was  much  patronized  by  Lord  Delaval,  for 
whom  he  painted  two  '  Views  of  Seaton  Delaval,' 
and  several  portraits  of  the  family.  He  died  at 
Newcastle  about  1804. 
BELLA,  Stefano  della.  See  Della  Bella. 
BELLANGfi,  Edg£ne,  French  historical 
painter ;  born  at  Rouen  in  1835  ;  son  of  Hippolyte 
Bellang^,  whose  reputation  was  at  its  zenith  from 
1830  to  1860  as  a  military  painter.  After  study 
with  Picot  he  followed  tlie  style  of  art  in  which 
his  father  had  become  famous,  and  among  his 
early  pictures  were  '  La  Garde  k  Magenta'  (1861), 
'Solferino'  (1863),  'Palpstro'  (1863).  The 
Franco-German  War  of  1870  furnished  him  with 
more  than  one  fine  subject  for  his  brush,  but 
some  years  afterwards  his  works  were  shown  less 
frequently  on  the  walls  of  the  Salon,  and  his 
weird  series  of  studies  of  the  heads  of  dead  people 
created  quite  a  sensation  at  the  Champs  de  Mars. 
He  died  in  the  April  of  1895. 

BELLANGE,  Jacques,  a  French  painter  and 
engraver,  was  born  at  Nancy,  in  1594.  He  first 
studied  under  Claude  Henriet,  and  afterwards  went 
to  Paris,  where  he  became  a  scholar  of  Simon 
Vouet.  He  painted,  amongst  other  works,  a  '  Con- 
ception '  for  Notre-Dame  at  Nancy,  where  he  died 
in  1638.  As  an  engraver,  he  has  certainly  been 
treated  -ivith  unmerited  severity  by  Basan,  who 
Bays  "  that  he  was  a  bad  painter,  and  a  worse  en- 
graver." Although  he  cannot  be  classed  among  the 
ablest  artists  of  his  country,  yet  his  plates,  though 
executed  in  rather  a  singular  style,  possess  con- 
siderable merit,  particularly  for  their  general  effect. 
His  point  is  free  and  masterly,  and  he  arranged 
his  masses  of  light  and  shadow  with  more  than 
usual  intelligence.  His  drawing  is  not  very  correct, 
and  there  is  an  appearance  of  affectation  in  the 
turn  of  his  figures,  which  is  not  unfrequently  dis- 
cernible in  the  works  of  his  countrymen.  The 
following  are  his  principal  plates: 

The  Annunciation. 

The  Holy  Family,  with  St.  Catharine  and  St.  John. 

The  Adoration  of  the  Magi. 

The  Resurrection  of  Lazarus. 

Christ  bearing  his  Cross. 

The  dead  Saviour  lying  on  the  knees  of  the  Virgin  Mary. 

The  Three  Marys  going  to  the  sepulchre. 

The  Magdalene,  half-length. 

St.  John  the  Baptist  in  the  wilderness. 

The  Martyrdom  of  St.  Lucia. 

The  Death  of  Virginia. 

Adonis  carrying  Diana  on  his  Shoulders. 

BELLANGE,  Joseph  Louis  Hippolyte,  a  French 
battle  painter,  was  bom  in  Paris  in  1800.  His 
art  was  influenced  by  the  wars  of  the  first  Napo- 
leon, and  while  a  youth,  he  produced  several  mili- 
tary drawings  in  lithography.  He  afterwards 
pursued  his  systematic  studies  under  Gros,  and 
with  the  exception  of  some  portraits,  devoted 
himself  exclusively  to  battle-pieces.  In  1824,  he 
received  a  second  class  medal  for  an  historical 
picture,  and  in  1834  the  decoration  of  the  Legion 
of  Honour,  of  which  Order  he  was  rhade  an  oiEcer 
in  1861.  He  also  gained  a  prize  at  the  Paris 
Universal  Exhibition  of  1855.  He  died  in  Paris 
in  1866.     Amongst  his  works  are  : 

The  Entry  of  the  French  into  Mons. 
The  Day  after  the  Battle  of  Jemappes. 
The  Passage  of  the  Mincio. 
The  Battle  of  Fleurus  (at  Versailles). 


A  Duel  in  the  Time  of  Eichelieu. 

The  Battle  of  Wagram  (at  Versailles). 

The  Taking  of  Teniah  de  Muzaia  {in  Salon  of  1841,  and 

now  at  Versailles). 
Taking  Bussian  Ambuscades  (1857). 
Episode  of  the  Taking  of  the  Malakoff  (1859). 
The  Two  Friends — Sebastopol,  1855  (exhibited  in  Salon 

of  1861,  at  London  in  1862,  and  at  Paris  in  1867). 
The  Soldier's  Farewell  (in  Zeipsic  Museum). 
The  Soldier's  Return  (in  Leipsic  Museum). 
The  Return  of  Napoleon  from  Elba  (in  Salon  of  1864, 

and  Paris  Exhibition,  1867). 
The  Cuirassiers  at  '\Yaterloo  (in  Salon  of  1865,  and  Paris 

Exhibition,  1867). 
The  Guard  dies  (in  Salon  of  1866,  and  Paris  Exhibition, 

1867 — his  last  work). 

BELLANGER,  J.  A.  Basan  mentions  this  ama- 
teur engraver  as  having  etched  some  plates  iiom 
his  own  designs  with  considerable  taste,  intelli- 
gence, and  correctness,  and  a  few  plates  after 
Raphael,  among  which  are  the  '  Miracle  of  the 
Loaves  and  Fishes,'  and  the  '  School  of  Athens.' 

BELLAVIA,  Maro  Antonio,  was  a  painter  and 
engraver.  About  1600,  he  executed  several  plates 
after  the  manner  of  Annibale  Carracci,  which  have 
been  attributed  to  that  artist.  The  most  important 
are: 

The  Adoration  of  the  Magi. 

A  Rest  in  Egypt. 

Romulus  and  Remus. 

BELLE,  Alexis  Simon,  a  French  portrait  painter, 
was  born  in  Paris  in  1674,  and  was  a  pupil  of 
Francois  de  Troy.     He  died  in  Paris  in  1734. 

BELLE,  Clement  Louis  Marie  Anne,  a  French 
historical  painter,  and  son  of  Alexis  Simon  Belle, 
was  born  in  Paris  in  1722.  He  studied  under 
Marie  Nicole  Hortemels,  his  step-mother,  and  Fran- 
cois Leraoine,  and  in  1761  was  received  into  the 
Academy,  of  which  he  became  professor  in  1765 
and  rector  in  1790.  He  was  likewise  inspector  at 
the  tapestry  manufactory  of  the  Gobelins,  where 
he  died  in  1806. 

BELLE,  La.    See  La  Belle. 

BELLECHOSE,  Henri,  'de  Brabant,' is  recorded 
to  have  been  '  painter  and  valet,'  to  Jean '  sans  peur,' 
in  1415,  and  in  the  same  year  he  was  employed  by 
the  Chartreuse  of  Dijon  to  paint  two  pictures — the 
'  Life  of  St.  Denis,'  and  the  '  Death  of  the  Virgin.' 

BELLEGAMBE,  Jehan,  is  a  painter  who  has 
remained,  until  recently,  in  obscurity.  What  we 
now  know  concerning  him  is  due  to  the  research 
of  M.  Wauters,  Dr.  Escallier,  and  others.  Belle- 
gambe  was  born,  apparently  at  Douai,  about  the 
year  1470.  He  studied  art,  it  is  supposed,  under 
one  Jean  Gossuin.  He  is  recorded  to  have  resided 
in  Douai  from  the  year  1504  to  1531,  and  further- 
more to  have  executed  works  for  the  churches 
of  St.  Am6  and  of  the  Dominicans,  as  well  as  for 
the  town.  The  only  authentic  work  by  him  is  a 
polyptych  in  the  church  of  Notre  Dame  at  Douai. 
It  was  formerly  in  the  abbey  church  of  Anchin, 
and  subsequently  came,  in  parts,  into  the  possession 
of  Dr.  Escallier,  who  presented  it,  as  a  whole,  to 
the  church  of  Notre  Dame.  This  work,  which  is 
a  very  interesting  example  of  Flemish  art  of  that 
period,  was  formerly  ascribed  to  Memling.  It 
represents  the  Trinity,  the  Virgin,  St.  John  the 
Baptist,  and  numerous  saints  ;  and  on  the  exterior, 
the  abbot,  the  prior,  and  several  monks,  together 
with  SS.  Charlemagne  and  Benedict.  Bellegambe 
is  mentioned  by  Vasari  in  a  list  of  important 
painters  of  the  Low  Countries. 

BELLERMANN,  Ferdinand,  a  native  of  Erfurt, 
and   pupil  of  Bleechen   and   Schirmer.     He   was 

111 


A  BIOGRAPHICAL  DICTIOKAKY  Oif 


sent  by  King  William  Frederick  IV.  to  South 
America  in  1842,  whence  he  brouglit  back  some 
three  hundred  sketches,  now  in  the  National 
Gallery  at  Berlin.  He  was  appointed  Professor 
of  the  Academy  there  in  1866,  and  made  a  second 
tour  through  Italy  eleven  years  later  ;  dying  in 
1889,  aged  75. 

BELLERS,  William,  an  English  landscape 
painter,  was  a  frequent  contributor  of  'Sunsets,' 
&c.,  to  the  exhibitions  at  the  Society  of  Arts ;  and 
in  1774  published  with  Boydell  a  series  of  views 
of  the  'Cumberland  Lakes.'  Some  of  his  land- 
scapes were  etched  by  Canot  and  other  French 
engravers. 

BELLEVOIS,  H.,  (orBELLVOE,)  was  a  painter  of 
marine  subjects,  seaports,  and  storms  at  sea.  It 
is  not  mentioned  by  whom  he  was  instructed,  but 
his  style  of  painting  indicates  that  W.  van  de 
Velde  and  Backhuisen  were  his  models.  He  re- 
sided at  Hamburg,  where  he  died  in  1684. 

BELLI,  Jacques.    See  Bellt. 

BELLI,  Maeco,  a  follower  of  the  Bellini,  lived 
in  the  early  part  of  the  16th  century  :  of  his  life 
or  death  nothing  certain  is  known,  excepting  that 
he  is  the  painter  of  a  'Circumcision'  in  the  Rovigo 
Gallery. 

BELLIER,  Jean  Fbanijois  Marie,  portrait 
painter  to  Marie  Antoinette,  Queen  of  France,  was 
bom  in  Paris  in  1745.  He  painted  the  panels  of 
the  carriage  for  the  coronation  of  Louis  XVI.,  and 
worked  with  Barthelemy  upon  the  ceilings  of  the 
Louvre.     He  died  in  Paris  in  1836. 

BELLIN,  Samuel,  was  born  in  1799,  at  Doctors 
Commons,  in  the  City  of  London.  He  was  the 
son  of  John  Bellin  of  Chigwell  in  Esses,  and  was 
articled  to  Basire  the  engraver  ;  after  serving  hia 
time  with  this  master  he  went  to  Rome,  where  he 
studied  and  painted  for  some  years,  in  company 
with  Thorwaldsen,  Turner,  Bartlett,  Geddes,  and 
other  artists.  Returning  to  England  in  1831  he 
commenced  line  engraving ;  later,  however,  he 
adopted  mixed  mezzotint,  executing  many  plates 
from  pictures  by  Frank  Stone,  Herbert,  William 
Hunt,  Eastlake,  Horsley,  Marshall  Claxton,  Courbald 
and  others.  Bellin  was  also  successful  with  copies 
of  many  portraits  of  eminent  persons  living  in 
the  earlier  part  of  the  19th  century.  He  retired 
from  the  profession  in  1889,  and  died  in  1893. 
The  sale  of  Sanmel  Bellin's  prints  and  plates  took 
place  at  Christie's,  on  March  30,  1894.  e_  g. 

BELLINI,  Bellini.     See  Belliniano. 

BELLINI,  FiLiPPO,  was  a  native  of  Urbino, 
and  flourished  about  the  year  1594.  Almost  un- 
noticed in  the  history  of  art,  he  is  stated  by  Lanzi 
to  have  possessed  uncommon  capacity.  He  was  a 
follower  of  the  style  of  Federigo  Baroccio,  and  one 
of  the  most  successful  of  his  imitators,  as  appears 
in  his  picture  of  the  '  Circumcision,'  in  the  Basilica 
of  Loretto,  and  in  the  '  Marriage  of  the  Virgin,'  in 
the  cathedral  at  Ancona.  Amongst  his  most  im- 
portant works  are  fourteen  pictures  of  the  works 
of  '  Charity,'  in  the  Chiesa  della  Carita  at  Fabriano. 
and  the  '  Martyrdom  of  St.  Gaudenzio,'  in  the 
Conventuali  di  M.  Alboddo. 

BELLINI,  Gentile,  was  the  son  of  Jacopo(q.v.). 
He  was  probably  born  in  1429,  in  Venice.  He 
learned  under  his  father,  and,  together  with  his 
brother,  is  mentioned  as  assisting  him  in  various 
undertakings.  By  the  year  1464  (according  to 
Crowe  and  Cavalcaselle,  History  of  Painting  in 
North  Italy,  where  authority  for  the  date  is,  how- 
ever, imdiscoverable)he  received,  as  an  independent 
112 


master,  the  commission  to  paint  the  doors  of  the 
organ  of  St.  Mark's.  These  panels  show  him  to 
have  become  deeply  imbued  with  the  ideas  of  j 
design  adopted  in  the  Paduan  school,  though  there  I 
are  still  evidences  of  the  early  Venetian  style.  To  ■ 
the  year  1465  belongs  another  public  undertaking, 
that  of  the  figure  of  the  Patriarch  Lorenzo  Giust- 
iniani  now  in  the  Academy.  This  shows  the  severe 
and  scholarly  feeling  for  draughtsmanship  which 
marks  all  Gentile's  works  In  1466  he  was  employed 
in  large  decorative  designs  illustrating  the  story 
of  the  Children  of  Israel  for  the  "school"  of  St.  J 
Mark's,  and  already  received  payment  at  the  same  ^ 
rate  as  his  father.  By  1469  lus  reputation  was 
such  that  he  received  the  title  of  Count  of  the 
Palatinate  from  the  Emperor,  and  in  1474  we  find 
him  evidently  regarded  as  the  greatest  artist  in 
Venice,  for  in  that  yearjie  was  appointed  to  restore, 
or  rather  repaint,  the  decorations  of  the  Sala  del 
Gran  Consiglio  in  the  Ducal  Palace,  and  was 
rewarded  with  a  sinecure  in  the  Fondaco  dei 
Tedeschi.  In  1479  we  have  a  still  further  proof  , 
of  his  pre-eminent  position,  for  in  that  year  he  was  I 
sent,  at  the  expense  of  the  State,  to  Constantinople,  i 
in  accordance  with  the  request  made  to  the  senate 
by  the  Sultan,  Mehemet  II.,  for  the  best  painter  in 
Venice.  During  his  stay  in  the  East  he  made 
drawings  of  the  classical  remains  of  Byzantium, 
and  brought  home  a  number  of  sketches  of  Eastern 
types  which  became  stock  motives  with  later 
Venetian  painters.  Of  the  portraits  which  he 
painted  of  the  Sultan,  he  brought  back  one,  which 
is  now  in  Lady  Layard's  collection.  It  is  dated 
1480,  and  is  signed  by  him  with  the  addition  of 
Knight,  a  title  conferred  on  him  by  the  Sultan. 
Gentile  continued  his  father's  connection  with  the 
"  school "  of  St.  Mark's,  rising  in  1492  to  the 
position  of  guardian  of  the  school.  Of  his  few 
remaining  works  the  most  important  were  executed 
to  decorate  the  walls  of  the  schools  of  St.  John  the 
Evangelist  and  St.  Mark.  For  the  former  he 
finished  in  1494  the  much-damaged  picture  of 
Pietro  di  Lodovico  being  cured  by  the  relic  of  the 
cross.  In  1496  he  completed  the  great  picture 
representing  the  procession  of  that  relic  in  the 
Piazza  of  St.  Mark's  ;  and  in  1500  he  executed  for 
the  same  body  the  painting  of  the  miraculous 
preservation  of  the  relic  on  an  occasion  when  the 
reliquary  had  fallen  into  a  canal  from  a  bridge 
over  which  it  was  being  carried  in  procession. 
These  pictures  are  all  in  the  Academy  at  Venice. 
His  last  great  undertaking  for  the  school  of  St. 
Mark's  was  the  canvas  representing  the  preaching 
of  St.  Mark  at  Alexandria,  now  in  the  Brera, 
which,  at  his  death  in  1507,  he  left  to  be  completed 
by  his  brother.  Gentile's  fame  as  a  painter  has 
perhaps  been  somewhat  eclipsed  by  that  of  his 
brother,  but  it  is  evident  that  in  their  lifetime  he 
took  the  chief  position  in  Venice.  He  was  a 
profound  student  of  perspective,  and  applied  its 
rules  with  great  success  to  the  composition  of  his 
great  historical  scenes.  The  most  famous  of  these 
was  the  series  representing  the  story  of  the  struggle 
with  Barbarossa,  which  decorated  the  Ducal  Palace. 
These  all  perished  in  the  fire  of  1577.  Besides  the 
works  already  mentioned  there  remain  several 
smaller  pieces  by  him  ;  a  portrait  of  Catherine 
Comaro  at  Buda  Pesth,  a  bust  of  St.  Mark  at 
Frankfort  (early),  a  large  Madonna  Enthroned  in 
Mr.  Mond's  collection,  St.  Peter  Martyr,  the  portrait 
of  a  Mathematician  and  the  head  of  a  monk  in  the 
National    Gallery;    portrait  of    Doge    Giovanni 


■^^ 


PAINTERS  AND  ENGRAVERS. 


Mocenigo  in  the  Correr  Gallery  at  Venice,  while 
Lady  Layard  besides  the  portrait  of  Mohamet  II. 
possesses  an  Adoration  of  the  Magi  in  a  style  of 
composition  recalling  Jacopo's  drawings,  but  with 
Eastern  costumes  showing  that  it  was  executed 
after  his  return  from  Constantinople.  The  qualities 
of  Gentile's  art  which  won  him  the  unqualified 
admiration  of  his  contemporaries  consist  in  the 
subtle  perfection  of  his  composition,  which,  ap- 
parently free  and  naturalistic,  is  really  controlled 
by  a  dehcate  sense  of  balance  and  proportion,  and 
the  exquisite  harmony  of  his  tones,  while  as  a 
draughtsman  he  possessed  a  finer  feeling  for  line 
than  any  other  Venetian  of  the  15th  century. 

R.  E.  F. 

BELLINI,  Cavaliere  Giacinto,  born  at  Bologna, 
in  the  early  part  of  the  17th  century,  was  a  scholar 
of  Francesco  Albani.  On  leaving  the  school  of 
that  master,  he  was  taken  under  the  protection 
of  the  Count  Odoardo  Pepoli,  by  whom  he  was 
sent  to  Rome  with  Francesco  Carracci,  for  the 
advantage  of  study.  He  was  not  long  at  Rome 
before  he  discovered  an  ability  that  recommended 
him  to  the  patronage  of  Cardinal  Tonti,  who  was 
BO  satisfied  with  his  performances,  that  he  pro- 
cured him  the  knighthood  of  the  order  of  Loretto. 
He  painted  in  the  manner  of  Albani,  and  his  pic- 
tures possess  much  of  the  graceful  style  of  that 
esteemed  master.     He  was  living  in  1660. 

BELLINI,  Giovanni,  was  the  son  of  Jacopo 
Belhni  (q.v.).  Of  the  date  of  his  birth  there  is  no 
certain  evidence  ;  Vasari  describes  him  as  older 
tlian  his  brother  Gentile,  but  other  authorities  of 
the  same  period  make  him  younger.  Undoubt- 
edly Gentile  was  regarded  as  the  head  of  the 
family,  and  it  is  usual  to  assume,  though  the  point 
must  still  be  considered  doubtful,  that  Giovanni 
was  born  a  few  years  later,  in  the  early  thirties  of 
the  fifteenth  century.  He  was  brought  up  with 
his  brother  in  his  father's  workshop  and  assisted 
him  in  his  various  undertakings,  but,  like  Gentile, 
though  to  am  even  greater  extent,  he  entered  with 
enthusiasm  into  the  new  ideas  of  the  Paduan 
school.  Indeed,  until  1460,  when  Mantegna  left  for 
Mantua,  he  kept  close  company  with  that  artist, 
advancing  with  him  pari  passu.  The  works  of  this 
period,  '  Crucifixion,'  'Transfiguration  '  and  '  Pieli,' 
in  the  Correr  Gallery,  Venice ;  '  Blood  of  the  Re- 
deemer '  and  '  Agony  in  the  Garden,'  National  Gal- 
lery, are  executed  in  a  manner  which  shows  the  in- 
fluence of  Mantegna  and  the  study  of  Donatello's 
works  at  Padua,  though  the  composition  and  group- 
ing is  derived  from  his  father's  style.  After  1460 
he  began  rapidly  to  divest  himself  of  the  rigid 
severity  of  the  Paduan  manner  and  to  form  his 
own  essentially  Venetian  style.  The  earliest  notice 
we  have  of  him  in  Venice  is  of  the  year  1459,  when 
he  appears  as  a  witness  to  a  deed.  That  he  devoted 
himself  rather  to  small  devotional  pictures  than  to 
the  great  decorative  designs  which  were  the  spe- 
ciahty  of  the  Belhni  family,  accounts  for  the  fact 
that,  while  we  have  far  more  of  his  works  than  of 
Jacopo's  or  Gentile's,  his  name  occurs  but  rarely 
in  contemporary  documents.  However,  in  1470, 
he  was  engaged  to  paint  a  large  design  of  the 
Deluge  for  the  "  school  "  of  St.  Mark's,  where  his 
brother  had  already  been  employed  for  some  years. 
Towards  the  close  of  the  seventies  he  must  have 
journeyed  to  Pesaro,  the  home  of  his  motlier 
Anna,  where  he  painted  the  great  altar-piece  of 
'  The  Coronation  of  the  Virgin '  in  the  church  of 
St.  Francesco.     '  The  Transfiguration,'  at  Naples, 


I 


was,  we  may  suppose,  another  result  of  the  same 
journey,  since  it  contains  a  view  of  some  of  the 
notable  buildings  in  Ravenna,  which  he  would  pass 
on  his  way  to  Pesaro.     In  1479  he  was  back  in 
Venice,  and  on  his  brother's  departure  for  Con- 
stantinople, Giovanni  was  appointed  to  take  his 
place  in  the  redecoration  of  the  Ducal  Palace,  a 
post  which  he  was  to  relinquish  on  Gentile's  return, 
though  the  sinecure  with  which  he  was  rewarded 
was  to  continue  for  life.     The  altar-piece  at  Pesaro 
marks  a  new  departure  in  Bellini's  career :  hitherto 
the  great  altar-pieces  had  been  the  speciality  of 
the  rival  Muranese  school,  but  from  this  time  on 
Giovanni   Bellini    was    continually   employed    in 
works  of  this  kind.     The  first  in  Venice  was  pro- 
bably 'The  Madonna  and  Saints '  for  St.  Giovanni 
e  Paolo,  which  was  destroyed  by  fire  in  1867.     So 
far  as  we  can  judge  from  reproductions,  the  effect 
of  this  lost  masterpiece  on  the  treatment  of  such 
motives  in  later  Venetian  art  was  momentous.     To 
the  eighties  belong  a  large  number  of   Bellini's 
works,  the  Frari  Triptych,  dated  1488,  but  probably 
begun  rather   earlier.  Madonnas  of  the  National 
Gallery  and  the  Morelli  Gallery  at  Bergamo  ;  the 
Madonna  between  St.   Catherine  and  Mary  Mag- 
dalen, Academy,  Venice.     Then  follows  the  cele- 
brated '  Madonna  and  Saints,'  painted  for  St.  Giobbe, 
c.  1486,  now  in  the  Academy  at  Venice.     To  1487 
belong  the  dated  '  Madonna  and  Child  '  and  the 
'Madonna  between  SS. George  and  Paul,' both  in  the 
Academy  ;  while  1488  is  the  date  of  the  '  Madonna 
and  Doge  Barbarigo  '  at  Murano.     It  is  difScult  to 
assign  with  certainty  any  picture  to  the  nineties, 
and  we   may   assume   that  the  artist's  time  was 
occupied  in  large  decorative  schemes  in  the  Ducal 
Palace  and  at  the  school  at  St.  Mark's.     Never- 
theless the  small  '  Allegory '  in  the  Uffizi  and  the 
series  of  allegories  in  the  Venice  Academy  may  be 
assigned  to  this  period.     Between  1501  and  1504 
he  was  engaged  in  paintmg  for  Isabella  d'Este  a 
small  panel,  now  lost,  representing  'The  Adoration 
of  the  Child   by   the  Virgin  and  various  Saints.' 
Isabella  had  tried  in  vain  to  get  Bellini  to  illus- 
trate a  subject  from  pagan  mythology,  a  motive 
which  Bellini  declared  to  be  too  alien  to  his  nature. 
To  the  year  1501  Agletti  ascribes,  though  without 
adding  authority,  the  great  altar-piece  represent- 
ing the  Baptism  in  Sta.  Corona  at  Vicenza.     In- 
ternal evidence  would  lead  us  to  place  it  nearly  ten 
years  later.     In  1505  Bellini  completed  the  great 
altar-piece  in  Sta.  Zaccharia,  in  which  he  rivalled 
the  new  style   which   his    own    pupil   Giorgione 
was  already  developing.      In  1507  he  finished  his 
brother's  picture  of  '  St.  Mark  at  Alexandria.'     To 
1510   belongs   the  'Madonna   and    Child'  in   the 
Brera,  while  in   1513  he  executed  his  last  indis- 
putable work,  the  altar-piece  in  St.  Giovanni  Chry- 
sostomo  in  Venice.     In  1514  he  received  payment 
from  the  Duke  of   Ferrara  for  the  '  Bacchanals,' 
now  at  Alnwick  Castle  ;  but  though  the  invention 
may  be  his,  the  execution  is  certainly  due  to  one 
of  his  pupils,  probably   Basaiti.     The  work  was 
finally   completed   by  Titian.     He  died  in   1516. 
In  the  last  twenty  years  of  his   life  Bellini   was 
surrounded  by  a  number  of  pupils  and  imitators,  of 
whom  Basaiti  and  Catena  were  the  most  important. 
His   greatest    pupil    Giorgione    had    already,  by 
the  beginning  of  the  16th  century,  taken  an  inde- 
pendent line,  and  the  new  ideas    which  he  and 
Titian  formulated   were  resisted  by  Bellini's  less 
independent  pupils,  who  enjoyed  the  oflicial  recog- 
nition of  the   State  until  ousted  by  the  superior 

113 


A   BIOGRAPHICAL  DICTIONARY  OF 


genius  of  Titian.  Bellini's  many  remaining  works 
enable  qs  to  trace  very  clearly  his  remarkably 
equable  and  steady  growth  through  all  the  phases 
of  15th-century  art.  Up  till  1460  he  cultivated 
with  Mantegna  a  rigid  and  searching  delineation  of 
form.  After  1460  his  style  becomes  increasingly 
suave,  and  the  intense  pathos  of  his  first  manner 
gives  place  to  a  calmer  and  more  gracious  senti- 
ment By  the  end  of  the  eighties  this  growth 
culminates  in  the  first  germs  of  a  new  style  in 
which  atmospheric  envelopment  and  rich  harmonies 
of  colour  become  the  chief  aims.  In  a  sense,  there- 
fore, BelUni  himself  discovered  the  style  of  the 
early  16th  century,  which  was  carried  to  per- 
fection by  Giorgione.  Besides  the  works  men- 
tioned above,  we  may  note  the  following  : 


Bergamo. 

Lochis  Gallery. 

Madonna. 

,^ 

Morelli  Gallery. 

Two  Madonnas. 

Berlin. 

Dead  Christ. 

Brera. 

Madonna  and  Pieta. 

London. 

Mr.  Mond. 

Dead  Christ. 
Madonna. 

Nat."Gcdl. 

Madonna. 

Portrait  of  Doge  Loredano. 

Milan. 

Sit/nor  Crispi. 

Madonna. 

fy 

Sianor  Fn'z:oni. 

Madonna. 

Newport,  U.S.A.  J/r.  Davis. 

Madonna. 

Pesaro. 

God  the  Father  (from  a  lost 
altar-piece). 

Rimini. 

Pieta. 

Venice. 

Ducal  Palace. 

Pieta  (repainted  ^  modified). 

Sta.  Maria  del  Olio. 

Madonna. 

*» 

Academy. 

Madonna  (similar  to  the  one 
at  Turin). 

M 

" 

Madonna    with     Choir    of 
Angels. 

„        St 

Francesco  della 
Vujjia. 

Madonna  and  Four  Saints. 

1507. 

Turin. 

Madonna.                R.  E.  F. 

BELLINI,  Jacopo,  was  the  son  of  Nicolo  Bellini, 
a  tinsmith  living  in  Venice.  Of  the  date  of  his 
birth  we  have  no  certain  evidence,  but  from  the 
fact  that  he  became  assistant  to  Gentile  da 
Fabriano  we  may  place  it  with  probability  in  the 
early  years  of  the  15th  century.  After  he  had 
acquired  the  rudiments  of  his  art,  probably  under 
native  Venetian  artists,  he  became  an  enthusiastic 
follower  of  the  new  principles  introduced  by 
PisaneUo  and  Gentile  da  Fabriano  when  these 
artists  were  invited  to  Venice  to  decorate  the  Ducal 
Palace.  He  followed  Gentile  to  Florence,  where  in 
1423  he  got  into  trouble  for  defending  his  master's 
workshop  against  one  Bernardo  di  ser  Silvestri, 
whose  attack  was  probably  instigated  by  the 
jealousy  of  the  native  Florentine  artists.  To  avoid 
complications  he  left  Florence  for  a  year,  but  on 
his  return  found  that  judgment  had  gone  against 
him  by  default.  He,  however,  compounded  for  the 
fine  with  his  adversary,  and  ajfter  a  public  penance 
performed  in  1425  he  was  quit  He  seems  to  have 
returned  to  Venice,  where,  in  1429,  we  find  him 
settled  in  the  Conlinio  di  S.  Geminiano.  In  that 
year  his  wife  Anna  being  with  child  made  her  will. 
From  this  it  would  appear  that  it  was  her  first 
child,  who  was  presently  bom,  and  whom  we  maj' 
identify  with  Gentile,  named  after  his  godfather 
Gentile  da  Fabriano.  In  1436  Jacopo  completed 
a  fresco  of  the  crucifixion  in  the  chapel  of  St. 
NiccoI6  in  the  cathedral  at  Vercna.  'This  great 
work,  which  appears  to  have  exercised  a  Avide 
influence  on  the  course  of  Venetian  art,  was 
destroyed  in  the  18th  century,  and  is  only  ac- 
cessible through  an  engraving  by  Paolo  Calliari. 
In  the  dated  inscription  he  declared   himself  a 

114 


pupil  of  Gentile  da  Fabriano.     In  1437  he  joined 
the  "  School "  or  Mutual   Benefit   Society  of  St 
John  the  Evangelist,  for  which  he  executed  many 
important  works,  including  a  life  of  the  Virgin 
and   Christ ;   some   of  the   subjects  illustrated  in 
this  series  are  interesting  as   showing  already  in 
Jacopo's   work    the   Venetian   tendency   to    treat 
historical  scenes  in  a  genre  spirit — thus  the  third 
picture  of  the  series  is  described  as  '  the  Virgin  as 
a  girl  preparing  sacerdotal  vestments.'     There  can 
be  no  doubt  that  these  large  decorative  paintings, 
every  one  of  which  has  perished,  were  painted  upon 
canvas  in  the  usual  Venetian  manner,  and  not  in 
fresco  as  was  customary  on  the  mainland.     About 
1440,  as  we  learn  from  a  sonnet  by  an  otherwise 
unknown  poet,  Ulysses,  he  was  on  a  visit  at  Ferrara, 
where  he  painted  in  competition  with  PisaneUo  a 
portrait  of  the  young  Lionel  d'Este.     In  this  con- 
test, according  to  the  verdict  of  Niccolo  d'Este, 
Jacopo  carried  the  palm.     In    1452  we  find  him 
working  for  the  "  school  "  of  St.  Mary  of  Charity, 
and  in  the  following  year  his  own  "  school "  gave 
him  a  subvention  for  the  dowry  of  his  daughter 
Nicholosia  on  her  marriage  with  Andrea  Mantegna. 
The  entries  cited   hitherto  show  that   the  Bellini 
family  were  settled  in  Venice,  and  not  as  has  been 
supposed  at  Padua.     Nevertheless  we  must  con- 
clude that  they  kept  up  a  close  intercourse  with  the 
Paduan  school.     Squarcione,  the  Paduan  master, 
certainly  undertook  commissions  in  Venice,  while 
conversely   we    have    records   of    an    altar-piece 
finished  in  1459  by  Jacopo  aided  by  his  two  sons, 
which  was  set  up  in  the  chapel  of  the  Sacrament 
in   the   Santo  at   Padua.     In   1466  he  undertook 
another  series  of  decorative  painting,  this  time  for 
the  school  of  St.  Mark's.     The  last  record  of  a 
commission  is  dated  1470,  and  it  was  cancelled, 
owing  probably  to  his  death  shortly  after  that  date. 
Considering  the  high  reputation  Jacopo  BelUni 
enjoyed  and  the  amount  of  his  work  of  which  we 
have  documentary  evidence,  it  is  surprising  and 
disappointing  to  find  how  little  has  survived.     A 
damaged  and  repainted  Madonna  and  Child  in  the 
Academy  at  Venice,  a  similar  composition  in  the 
Tadini  collection  at  Lovere,  and  a  Crucifixion  in 
the   Gallery  at  Verona  are  the   only  indubitable 
works.     An   Annunciation   at   St.   Alessandro   in 
Brescia  and  another  in  private  hands  in  England, 
together  with  a  small  panel  of  Christ  in  Limbo  in 
the  Gallery  at  Padua,  are  probably  due  to  his  hand. 
We  are,  however,  able  to  study  his  genius  more 
fully  in  two  sketch  books,  one  in  the  British  Museum 
with  drawings  executed  in  pencil,  and  the  other  a 
later  work  containing  pen  drawings  in  the  Louvre. 
In  these  sketches,  which  cover  a  large  range   of 
subjects,  and  display  extraordinary  fertility  and 
freedom   of   invention,   we   can   trace   the   wide- 
reaching  influence  which  Jacopo  exercised  through 
his  sons  on  the  whole   development  of  Venetian 
art,  while  even  his  son-in-law  Mantegna  is  seen  to 
have  borrowed  many  motives  therefrom.     Jacopo's 
contact  with    Florentine    art,   and  notably    with 
Paolo   Uccello,   who   worked    in   Venetia   in   the 
twenties   and    again   in   the   forties   of    the   15th 
century,  led  him  to  attempt  a  more  scientific  con- 
struction of  the  picture  space  than  he  had  origin- 
ally learnt ;  whUe  the  influence  of  classical  art  is 
clearly    seen   in    his     treatment    of    the    figure. 
Nevertheless  he  remained  essentially  a  mediseval 
draughtsman,  fluent   and  harmonious   in  his  line, 
but  wanting  in  any  feeling  for  logical  and  natural- 
istic construction.  R.  E.  F. 


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PAINTERS  AND  ENGRAVERS. 


BELLINIANO,  Vittore,  who  is  considered  to 
be  identical  with  Bellini  Bellini  and  Vittore  di 
Matteo,  was  a  native  of  Venice,  and,  according  to 
Ridolfi,  flourished  about  tlie  year  1526.  He  painted 
historical  subjects,  and  several  of  his  pictures  are 
in  the  Confraternity  of  St.  Mark  at  Venice,  and  in 
the  churches  of  the  neighbouring  towns. 

BELLIVERT.     See  Biliveet. 

BELLOC,  Jean  Hilaire,  who  was  born  at 
Nantes  in  1786,  studied  under  Regnault  and  Gros, 
in  Paris,  and  at  first  painted  historical  subjects  ; 
but  he  abandoned  these  for  portraiture,  in  which 
branch  of  art  he  admirably  succeeded.  His  por- 
traits include  those  of  the  Duchess  of  Berri  and 
other  noted  persons.  He  became  Director  of  the 
Free  School  of  Design  in  Paris,  where  he  died  in 
1866. 

BELLOTTI,  PiETRO,  was  born  at  Bolzano,  in 
1625.  He  was  a  scholar  of  Girolamo  Ferrabosco, 
under  whom  he  became  an  excellent  colourist.  He 
painted  some  historical  subjects ;  but  was  more 
employed  in  portraits,  in  which  he  was  very  suc- 
cessful. He  was  a  good  copyist  of  other  painters. 
He  died  at  Venice,  in  1700. 

BELLOTTO,  Bernardo,  who  was  bora  at  Venice, 
in  1724  or  1720,  was  the  nephew  of  Antonio  Canal, 
called  Canaletto,  the  celebrated  painter  of  the  views 
in  Venice,  whose  name  he  adopted,  and  by  whom 
he  was  instructed  in  art.  In  imitation  of  his  uncle, 
he  also  painted  architectural  and  perspective  views, 
in  a  very  picturesque  and  spirited  manner.  He 
resided  in  Italy,  in  Germany — especially  in  Dresden 
— and  in  Poland.  He  died  at  Warsaw  in  1780. 
The  following  are  some  of  his  best  works  : 


Berlin.  Gallery. 

Cassel.  Gallery. 

Darmstadt.  Gallery. 

Dresden.  Gallery. 


Two  Views  in  Pima  (from  t/ie 

Suermondt  Coll.). 
Views  in  Venice. 
Venetian  scene  ;  and  others. 
Views  of  Dresden. 
Views  of  Pirna. 
Views  in  Poland. 
Views  in  Italy. 
(In  all  thirty-eight  works.) 
Landscapes. 
View  of  Munich. 
View  of  the  Eialto,  Venice. 
Views  of  Turin. 
View  in  Pirna. 


Milan.        Brera. 
Munich.     Pinakothek. 
Petrsbrg.  Hermitage. 
Turin.        Pinacoteca. 
Vienna.  Liechtenstein  G. 

_  He  has  etched,  from  his  own  designs,  several 
views  in  Dresden,  Warsaw,  and  Vienna,  and  other 
subjects,  as  follow : 

A  set  of  six  Landscapes  and  Views. 

A  set  of  twelve  architectural  Ruins. 

Fifteen  Views  in  Dresden. 

Eight  Views  in  the  environs  of  Dresden. 

Three  Views  in  Warsaw. 

BELLUCCI,  Antonio.     See  Belucci. 

BELLUNELLO.     See  Bertholotti,  Andrea  di. 

BELLY,  Jacques,  a  French  painter  and  en- 
graver, was  a  native  of  Chartres ;  he  was  born  in 
1609,  and  died  at  Chartres  in  1674.  He  was  a 
pupil  of  Simon  Vouet,  and  resided  for  many  years 
m  Rome,  where  he  executed  his  best  known  work, 
'La  Gallerie  du  Palais  Farnaise  de  la  ville  de 
Rome,'  a  series  of  engravings  after  the  frescoes 
of  Annibale  and  Agostino  Carracci,  published  in 
1641.  '  ^ 

BELLY,  LioN  AuGUSTE  Adolphe,  a  French  land- 
scape painter,  was  born  at  St.  Omer,  in  1827.  He 
studied  under  Troyon  and  Rousseau.  He  spent 
much  of  the  latter  part  of  his  life  in  the  East, 
which  furnished  him  with  many  subjects.  He 
died  in  1877.     His  best  works  are : 


Twilight  in  November. 

Fishers  at  Equities. 

The  Desert  of  Nassoub.     1857. 

The  Plain  of  Djyseh. 

Pilgrims  going  to  Mecca.    1861.    (In  the  Lvixemiourg 

Gallery.) 
The  Banks  of  the  Nile. 
Approach  to  an  Egyptian  Village. 
The  Dead  Sea.     1866. 
The  Nile — near  Rosetta. 
Montauban    in  Sologne.     1877.    (In  the  Luxembourg 

Gallery.) 

BELMONTE  t  VACAS,  Mariano.  This  land- 
scape painter  was  a  native  of  Cordova,  and  a  pro- 
fessor of  Fine  Arts  at  Cadiz  and  at  Valencia.  He 
exhibited  his  works  in  the  Spanish  Exhibitions 
in  1858,  1860,  and  1862,  and  obtained  several 
prizes.  He  died  at  Valencia  in  1864.  Among  his 
best  paintings  are : 

A  view  of  the  Casa  de  Campo  at  Madrid. 

The  Cavern  of  Palomas  at  Valencia. 

BELSKY,  Alexei,  a  pupil  of  Girolamo  Bon, 
worked  in  the  second  half  of  the  18th  century.  In 
the  Hermitage  at  St.  Petersburg  there  is  an  archi- 
tectural piece  by  him,  signed  and  dated  1789. 

BELTRAFFIO,  Giovanni  Antonio,  (or  Bol- 
TRAFFIO,)  a  nobleman  who  was  born  at  Milan  in 
1467,  and  studied  art  under  Leonardo  da  Vinci ; 
but  lie  painted  only  as  an  amateur.  He  died  at 
Milan  in  1516.  Of  his  works,  which  are  rather 
scarce,  the  following  may  be  mentioned; 

BeUaggio.     Frizzoni  C.   Madonna  and  Child. 

Berlin.  Gallery.        St.  Barbara. 

London.        JVat.  Gall.     Madonna  and  Child. 

Milan.  Foldi  Coll.-  Madonna  and  Child. 

Naples.         Museum.       Infant  Christ  and  St.  John  (after 

Leonardo  da  J'inci). 
Paris.  Louvre.  A  Virgin  and  Child,  adored    by 

the    Casio   Family  (once  in   the 

church   of  the   Misericordia,   at 

Bologna). 

BELTRANO,  Agostino,  and  his  wife,  Aniella 
(called  Aniella  Beltrano-Rosa  and  Anna  di  Rosa), 
were  Neapolitan  painters  and  scholars  of  Massimo 
Staiizione,  of  whom  Aniella  was  the  niece.  They 
are  mentioned  together,  as  they  painted  alike,  and 
jointly  prepared  many  pictures  which  their  master 
afterwards  finished.  They  were  both  painters  of 
no  common  merit,  as  is  shown  by  many  altar- 
pieces  and  cabinet  pictures  in  oil.  Some,  however, 
belong  to  Aniella  alone,  and  are  highly  extolled  ; 
her  uncle  is  suspected  of  having  had  a  consider- 
able share  in  them,  as  Guido  had  in  those  of 
Gentileschi.  She  was  murdered  by  her  husband 
in  a  fit  of  jealousy,  in  the  year  1649,  at  the  age 
of  36  ;  he  survived  until  the  year  1665. 

BELUCCI,  Antonio,  (or  Bellucci,)  who  was 
born  at  Soligo,  near  Venice,  in  1654,  was  a  scholar 
of  Domenico  Difinico,  and  according  to  Orlandi 
painted  several  altar-pieces  for  the  churches  at 
Venice  and  Verona.  He  painted  in  Vienna,  for 
Charles  VI.  ;  at  the  court  of  the  Elector  Palatine ; 
and  in  London,  at  Buckingham  House  and  else- 
where. He  returned  to  his  native  country,  and 
died  at  Soligo  in  1726.  In  the  church  of  the 
Ascension  at  Venice,  is  a  fine  picture  by  him  of  the 
'Nativity.'  In  the  Munich  Gallery  are  a  '  Psyche 
and  the  sleeping  Cupid,'  and  a  '  Venus  and  Cupid, 
riding  on  the  waves  ;  '  and  in  the  Dresden  Gallery 
are  a  'Venus,  attended  by  Cupid,  feeding  a  dove,' 
and  a  '  Madonna  and  Child.'     Several  of  the  land- 

116 


A  BIOGRAPHICAL  DICTIONARY  OF 


scapes  of  Tempesta  are  enriched  with  figures  by 
Belucci. 

BELVEDERE,  Abate  Andrea,  born  at  Naples  in 
1646,  was,  it  is  said,  a  scholar  of  Ruoppoli,  and  ex- 
celled in  painting  fruit  and  flowers.  He  was  one  of 
the  artists  employed  by  Charles  II.  of  Spain  ;  and  in 
conjunction  with  Luca  Giordano  (who  painted  the 
figures),  he  executed  several  of  the  ornaments  of 
the  Escorial.  His  touch  was  firm  and  free,  and 
was  peculiarly  adapted  to  the  imitation  of  the  still- 
life  he  represented,  whilst  his  knowledge  of  chiar- 
oscuro enabled  him  to  give  his  works  a  natural  and 
pleasing  effect.  He  quitted  painting  for  the  study 
of  literature,  and  died  in  1732 — according  to  some 
authors  at  Venice,  to  others  at  Florence. 

BEMBO,  BoNlFAZio,  of  Cremona,  flourished  from 
about  1455  to  1478.  He  was  employed  by  Fran- 
cesco Sforza  at  Milan  and  Padua,  but  after  his 
patron's  death  he  removed  to  Cremona.  He  painted 
there,  in  Sant'  Agostino,  full-length  portraits,  in 
fresco,  of  Francesco  Sforza  and  his  wife,  Bianca, 
which  have  been  much  damaged  by  restoration. 
Pictures  by  him  also  remain  in  the  cloister  of  La 
Colomba,  at  Cremona.  Bembo  was  an  able  art- 
ist, spirited  in  his  attitudes,  magnificent  in  his 
draperies,  and  glowing  in  his  colours. 

BEMBO,  GiANFRANCEsco,  who  was  either  younger 
brother  or  son  of  Bonifazio,  flourished  at  Cremona 
till  1524.  He  is  supposed  to  have  visited  Rome, 
and  is  thought  to  be  identical  with  a  painter  who 
was  there  known  as  Vetriario.  His  works  are  seen 
in  Cremona,  in  the  cathedral  of  which  city  are  an 
'  Adoration  of  the  Kings,'  and  a  '  Presentation  in 
the  Temple ; '  in  San  Niccol6  is  a  '  St.  Nicholas 
with  the  Virgin ; '  and  in  San  Pietro  is  a  '  Madonna,' 
dated  1524,  his  last  known  work.  Benibo's  pic 
tures  contain  very  slight  traces  of  the  antique  : 
he  resembles  Fra  Bartolommeo  in  point  of  colour- 
ing, but  is  inferior  to  him  in  the  dignity  of  his 
figures  and  in  his  drapery.  Rosini  has  given  a 
print  of  a  votive  picture  by  him,  the  design  of 
which  has  much  of  the  grace  and  dignity  of 
Raphael. 

BEMMEL,  Van.  A  family  of  landscape  painters 
of  this  name  flourished,  during  the  17th  and  18tli 
centuries,  at  Nuremberg  and  elsewhere.  Those 
whose  biographies  are  given  were  the  most  note- 
worthy members  of  this  numerous  but  somewhat 
unimportant  family.  The  accompanying  genea- 
logical table  is  appended,  in  order  to  illustrate,  in 
as  short  a  space  as  possible,  the  relationships  of 
these  artists. 

WILLEM  van  BEMMEL  (1630-1708). 
, i- , 


Johann  Georg 

(10G9— 1"23|. 
I 

Joel  Paul 
(1713-    I. 


Peter 
(leSo— 1751). 


Johann  Noah 
(1716-1768). 

Georg  Christoph  Gottlieb 
(1738—1794). 


Cliristoiih. 


.Tohanu  Cliristoph. 
I 


Karl  Seliastian    Simon  Joseph 
(1743-1790).  (1747-1791). 

BEMMEL,  Peter  von,  the  second  son  and  pupil 
of  Willem  van  Bemmel,  was  born  at  Nuremberg 
in  1685.  He  painted  landscapes  ;  and  was  especi- 
ally successful  in  representing  thunder-storms  and 
winter-scenes.  His  works  are  seen  in  the  galleries 
of  Brunswick  and  his  native  city.  He  etched  sis 
plates  of  landscapes,  and  died  at  Ratisbon  in  1754. 
His  sons,  Christoph  and  Johann  Christoph  von 
Bemmel,  followed  the  art  of  their  father. 

BEMMEL,  Willem   van,   a  Dutch   landscape 

116 


painter,  was  born  at  Utrecht  in  1630.  He  was  the 
scholar  of  Herman  Saftleven,  and,  like  his  instructor, 
excelled  in  painting  landscapes.  Not  satisfied  with 
the  scenery  of  his  native  country,  he  went  to  Italy, 
and  passed  some  years  in  making  drawings  of  the 
most  picturesque  views  in  the  environs  of  Rome. 
On  leaving  Italy  he  travelled  through  Germany, 
and  settled  at  Nuremberg  in  1662,  where  he  met 
with  great  encouragement,  and  became  the  founder 
of  a  numerous  family  of  artists.  The  studies  he 
had  brought  with  him  from  Italy  were  an  excellent 
resource  to  him  in  the  composition  of  his  pictures, 
which  were  frequently  enriched  with  figures  by 
Koos  and  others.  His  landscapes  have  rarely 
found  their  way  to  England,  but  may  be  seen 
in  the  galleries  of  Vienna,  Dresden,  Augsburg, 
Frankfort,  and  Nuremberg.  He  etched  six  plates 
of  landscapes  which  are  dated  1654,  and  show  the 
hand  of  a  master.  He  died  at  Wbhrd,  near  Nurem- 
berg, in  1708. 

BENAGLIO,  Francesco,  was  a  follower  of  Gi- 
rolamo  Benaglio,  and  is  said  to  have  painted  a 
fresco  at  Santa  Maria  della  Scala  in  1476.  There 
are  still  existing  several  frescoes  by  him  in  dif- 
ferent churches  in  Verona.  The  dates  of  his  birth 
and  death  are  unknown. 

BENAGLIO,  GiROLAMO,  a  painter  of  Verona, 
flourished  in  the  15th  century.  An  altar-piece, 
of  the  '  Madonna  and  Saints,'  dated  1487,  and 
several  panels  by  him,  are  in  the  Verona  Gallery. 

BENARD,  J.  F.,  a  French  engraver,  who 
resided  at  Paris  about  the  year  1672,  engraved 
several  architectural  and  ornamental  subjects  for 
the  work  published  at  Paris  by  Jean  Berain. 

BENASCHI,  Giovanni  Baitista,  Cavaliere,  (or 
Beinaschi,)  a  Piedmontese  painter,  was  born  at 
Turin,  in  1636.  He  was  instructed  in  the  rudi- 
ments of  art  by  Spirito,  and  then  went  to  Rome, 
where  he  became  the  scholar  of  Pietro  del  Po  ;  but 
afterwards  formed  his  style  from  an  imitation  of 
the  pictures  of  Lanfranco.  The  principal  works  of 
this  artist  are  at  Naples,  where  he  painted  several 
ceilings,  and  other  works  in  fresco.  He  possessed 
an  inventive  genius,  and  was  an  able  designer. 
He  died  in  1688.  There  is  an  etching  by  this 
painter  of  a  '  Holy  Family,'  after  Giovanni  Do- 
menico  Cerrini,  who  was  his  intimate  friend. 

BENAVIDES,  Vincente  de,  a  Spanish  painter, 
born  at  Oran  in  1637.  He  was  a  scholar  of  Fran- 
cisco Rizi,  at  Madrid  ;  he  afterwards  became  a 
good  painter  in  fresco,  and  was  much  employed  in 
theatrical  decorations.  He  was  appointed  painter 
to  Charles  II.  in  1691,  and  died  in  1703. 

BENAZECH,  Charles,  a  son  of  Peter  Paul 
Benazech,  was  born  in  London  in  1767.  He 
studied  under  Greuze,  and  in  Rome ;  he  was  in 
Paris  during  the  Revolution,  and  is  best  known  by 
his  four  pictures  of  '  Events  in  the  Life  of  Louis 
XVI.,'  which  were  engraved  by  Luigi  Schiavonetti. 
He  usually  painted  portraits,  some  of  which  he 
himself  engraved.     He  died  in  1794,  in  London. 

BENAZECH,  Peter  Paul,  an  engraver,  who  is 
said  to  have  been  born  in  London  about  the  year 
1744.  He  was  a  pupil  of  Vivares,  and,  according 
to  Basan,  worked  some  time  at  Paris,  but  returned 
to  England.  We  have  several  plates  by  him  of 
landscapes  and  other  subjects,  of  which  the  follow- 
ing are  the  principal : 

Peasants  playiug  at  Bowls  ;  after  A.  van  Ostade. 

Fishermeu;  after  I'trnet. 

Eetura  from  iishicg ;  after  the  same. 

A  Calm  at  Sea ;  after  the  same. 


PAINTERS  AND  ENGRAVERS. 


Morning ;  after  the  same. 

Four  large   landscapes ;    after   Dietrich ;   engraved   in 
1770  and  1771.     These  are  his  finest  prints. 

BENCOVICH,  Federigo,  called  '  II  Federi- 
ghetto  di  Dalmatia,'  was  a  native  of  Dalmatia,  but 
was  educated  at  Bologna  ;  he  flourished  about  the 
year  1753.  He  appears  to  have  studied  the  style 
of  Carlo  Cignani,  to  whose  firmness  of  design  he 
approached  more  nearly  than  he  did  to  the  amenity 
of  his  colouring.  He  produced  several  estimable 
works  at  Bologna,  Milan,  and  Venice,  and  in  the 
church  of  the  Madonna  del  Piombo  at  Bologna 
is  an  altar-piece  by  him  of  the  '  Crucifixion  of  St. 
Andrew.'  He  was  more  employed  in  painting 
easel  pictures  than  large  works ;  many  of  the 
former  are  in  Germany,  where  he  resided  some 
years. 

BENDEL,  Hans  Siqmund,  of  Scbaffhausen,  in 
Switzerland,  was  an  historical  painter  and  litho- 
grapher, and  attended  the  Academy  of  Munich, 
under  Kaulbach.  He  commenced  to  paint  a  series 
of  cartoons  with  scenes  from  Swiss  history,  but 
unfortunately  died,  in  1853,  before  they  were  com- 
pleted. Among  his  other  works  are  the  illustra- 
tions for  Goethe,  for  Pestalozzi's  '  Lienhard  und 
Gertrud,'  for  Hebel's  '  Poems,'  and  for  the  '  Niiny 
Gldckly '  (the  Nine  o'clock  Bell)  at  Scbaffhausen. 
BENDZ,  WiLHELM  Ferdinand,  who  was  born  at 
Odense,  in  the  island  of  Funen,  in  1804,  studied 
under  Eckersberg  in  Copenhagen,  and  became  a 
good  painter  of  portraits  and  genre  pieces.  In 
1831  he  went  by  way  of  Munich  to  Italy,  and  died 
at  Vicenza,  in  1832.  Of  his  works  we  may  mention  : 
Portrait  of  the  Pastor  Hornsyld.  1825. 
A  Painter  in  his  Studio.    1826.    (/n  the  Copenhagen 

Gallery.) 
Interior  of  an  Art  Academy.    1826.    (In  the  Copenliagen 

Gallery.) 
A  Sculptor  in  his  Studio.     1827.     (In  the  Copenhagen 

Gallery.) 
Christian  IV.  at  the  Battle  of  Femern.  1828. 
BENEDETTI,  Mattia,  was  a  native  of  Reggio, 
and  a  scholar  of  Orazio  Talami.  According  to 
Averoldi,  he  flourished  about  the  year  170L),  and 
was  esteemed  as  a  fresco  painter.  One  of  his 
best  works  was  the  ceiling  of  the  church  of  Sant' 
Antonio  at  Brescia. 

BENEDETTI,  Tommaso,  who  was  born  in  Lon- 
don in  1797,  went  early  to  Vienna,  where  he  spent 
the  greater  part  of  his  life,  and  died  in  1863. 
Amongst  his  best  engravings  are  the  following  : 

Portrait  of  the  Emperor  Francis  I. ;  r/f/er  Ammerliiiy. 
Portrait  of  the  Emperor  Francis  I. ;  after  Kupelwieser. 
Portrait  of  the  Duke  of  Eeichstadt ;  after  Daffinyer. 
Portrait  of  the  Archduke  Charles  of   Austria;   after 

Kriehuber. 
The  Entombment;  after  Titian. 
Madonna  with  the  Cherries ;  after  Titian. 

BENEDETTIS,  Domenico  de.  This  artist  was 
bom  in  Piedimonte  d'Alise  about  the  year  1610. 
He  was  sent  when  young  to  Naples,  where  he 
was  placed  under  the  tuition  of  Fabrizio  Santa- 
fede,  and  after  studying  some  time  under  that 
master,  he  went  to  Rome,  where  he  had  the  ad- 
vantage of  becoming  a  scholar  of  Guido,  whose 
graceful  and  elegant  manner  he  imitated  with  suc- 
cess. On  his  return  to  Naples,  he  was  favoured 
with  the  protection  of  the  king,  whose  palace  he 
ornamented  with  several  pictures;  he  also  painted 
Bome  works  for  the  churches.  Dominici  mentions, 
as  his  best  work,  the  ceiling  of  the  church  of 
Santa  Maria  Donna  Regina,  where  he  has  repre- 
sented, in  the   different  compartments,   subjects 


from  the  life  of  the  Virgin  Mary,  entirely  in  the 
manner  of  Guido.     He  died  in  1678. 
BENEDETTO,  II.     See  Castiglione. 
BENEDETTO,  Fra.     See  Fiesole,  Benedetto 
da. 

BENEDICTO,  Roque,  an  historical  painter  of 
Valencia,  and  scholar  of  Gaspar  de  la  Huerta,  for 
whose  works  the  pictures  of  Benedicto  are  often 
mistaken.  He  was  a  better  oolourist  than  designer. 
His  most  distinguished  picture  is  the  '  Miracle  of 
St.  Francis  de  Paul  feeding  3000  persons  with  a 
small  quantity  of  bread.'  He  died  at  Valencia  in 
1735. 

BENEFIAL,  Cavaliere  Marco,  was  born  at 
Rome  in  1684.  Several  of  his  works  in  that  city 
prove  him  to  have  possessed  very  considerable 
ability.  In  the  Academy  of  St.  Luke  is  a  tine 
picture  of  '  Christ  and  the  Samaritan  W^oman ; ' 
and  in  the  church  of  the  'Stimulate,'  the  'Flagel- 
lation.' In  the  Palazzo  Spada  there  is  a  saloon 
entirely  painted  by  him,  which  is  considered  one 
of  the  finest  productions  of  his  time:  and  there 
are  also  preserved  the  cartoons  for  his  great  fresco 
work  of  the  dome  of  the  cathedral  at  Viterbo. 
He  died  in  1764. 

BENET,  Geronimo,  painted  portraits,  figures 
of  the  Virgin  and  Christ,  to  which  he  gave  con- 
siderable expression.  He  died  at  Valladolid  in 
1700. 

BENEVIDES.  See  Ramirez. 
BENFATTO,  Ldigi,  who  was  born  at  Verona 
in  1551,  was  the  nephew  and  scholar  of  Paolo 
Veronese,  under  whom  he  acquired  a  bold  and 
vigorous  style  of  painting.  According  to  Ridolfi, 
he  maintained  for  some  time  after  the  death  of 
Paolo  the  celebrity  of  the  school,  and  the  splendid 
system  of  colouring  established  by  that  great 
master.  He  distinguished  himself  by  many  admir- 
able works  in  public  buildings  at  Venice.  In  the 
church  of  St.  Nicholas  is  a  grand  composition  by 
him,  representing  the  Ascension  of  that  saint  to 
heaven,  attended  by  a  choir  of  angels,  and  figures 
emblematical  of  the  virtues  of  Faith,  Hope,  and 
Charity,  and  in  the  Chiesa  di  Santa  Marta  are 
several  pictures  of  the  life  of  that  saint.  Many 
other  works  of  Benfatto  are  mentioned  by  Ridolfi. 
He  died  in  1611. 

BENING,  Levina,  was  the  eldest  daughter  of 
Simon  Bening,  a  miniature  painter  of  Bruges,  and 
was  instructed  in  miniature  painting  by  her  father. 
She  married  Georg  Teerling  of  Blankenberghe, 
who  came  with  her  to  England,  where  her  remark- 
able talents  recommended  her  to  the  notice  of 
Henry  VIII.,  Edward  VI.,  and  the  queens  Mary 
and  Elizabeth ;  with  the  last  of  whom  she  was  in 
great  favour  as  late  as  1570,  but  the  time  of  her 
death  is  not  recorded.  She  was  also  known  in 
England  as  '  Levina  of  Bruges.' 

BENING,  Simon,  a  Flemish  illuminator  and 
miniature  painter,  was  probably  a  native  of  Ghent, 
where  his  father,  Alexander  Bening,  exercised  the 
calling  of  a  draughtsman  and  illuminator.  Simon 
worked  in  Ghent,  Antwerp,  Brussels,  and  London, 
and  died  at  Bruges  in  1561.  There  is  in  the  Manu- 
script Department  of  the  British  Museum  a  splen- 
did example  of  his  work,  '  Arbre  genealogique  de 
la  Maison  souveraine  de  Portugal,'  executed  be- 
tween the  years  1530  and  1534. 

BENINI,  SiGi.sMONDO,  was  born  at  Cremona, 
about  the  year  1675,  and  studied  under  Angelo 
Massarotti.  He  excelled  in  painting  landscapes, 
in  which  the  gradation  in  the  distances  was  well 

117 


A  BIOGRAPHICAL  DICTIONARY  OF 


observed,  and  the  effects  of  light  managed  with 
great  skill.  His  pictures  are  highly  finished  and 
very  agreeably  coloured.  His  talent  was,  however, 
confined  to  landscape,  and  when  he  attempted  to 
introduce  figures  of  his  own,  it  always  diminished 
the  value  of  his  works. 

BENNETT,  Charles  H.,  was  a  designer  on 
wood,  whose  first  sketches  appeared  in  '  Diogenes.' 
He  also  produced  many  illustrated  children's 
books,  as  well  as  illustrations  to  the  'Pilgrim's 
Progress,'  and  sketches  in  '  Punch.'  He  died  iu 
1867,  aged  37. 

BENNETT,  William,  a  water-colour  painter, 
was  born  in  1811.  It  is  believed  that  he  re- 
ceived his  first  lessons  in  art  from  David  Cox. 
In  1848  he  was  made  a  member  of  the  New 
Water-Colour  Society,  and  contributed  landscapes, 
chiefly  of  English  scenery,  to  their  exhibitions, 
jintil  his  death  in  1871. 

BENNETT,  William  James,  a  water-colour 
painter,  was  one  of  the  '  Associated  Artists '  in 
1808,  and  twelve  years  afterwards  was  elected  an 
Associate  of  the  Water-Colour  Society.  He  painted 
views  near  Naples,  and  on  the  coast  of  Barbary. 
His  last  exhibited  drawings  were  published  in  1826. 

BENNETT,  William  Mineard,  born  at  Exe- 
ter in  1778,  was  a  pupil  of  Sir  Thomas  Lawrence, 
and  obtained  some  celebrity  as  a  painter  of  por- 
traits and  miniatures — exhibiting  at  various  times 
at  the  Academy.  About  1835  he  went  to  Paris, 
where  he  was  patronized  and  decorated  by  Louis 
Philippe.  In  his  later  years  he  returned  to  Exeter, 
where  he  died  in  18.58. 

BENOIST,  Antoine,  (called  Du  Cercle,)  a 
French  portrait  painter,  was  born  at  Joigny  (Yonne) 
in  1632.  He  became  painter  in  ordinary  and  first 
sculptor  in  wax  to  Louis  XIV.,  and  was  received 
into  the  Academy  in  1681.  There  is  at  Versailles 
a  remarkable  medallion  of  Louis  XIV.  executed  by 
him  in  coloured  wax.     He  died  in  Paris  in  1717. 

BENOIST,  Antoine,  a  French  engraver,  was 
born  at  Soissons  in  1721,  and  died  in  London  in 
1770.  He  engraved,  after  Blackey,  a  portrait  of 
Louis  XV.,  King  of  France. 

BENOIST,  GuiLLAUME  Philippe,  a  French  line- 
engraver,  was  born  near  Coutances,  in  Normandy, 
in  1725.  He  engraved,  in  a  neat  stj-le,  some 
portraits,  and  a  few  other  subjects.  He  died 
in  Paris  in  1800.  The  following  plates  are  by 
him: 


PORTRAITS. 

Galileo  Galilei ;  after  F.  Tillamena. 

The  President  de  Montesquieu. 

Alexander  Pope. 

Rosen  de  Kosenstein,  physician. 

Sir  Isaac  Newton. 

Blaise  Pascal. 

Albert  Haller. 

Mile.  Olairon,  actress. 

Jacques  Andre  Joseph  Aved,  painter ;  after  Aved. 

SUBJECTS. 

Jupiter  and  Juno  ;  after  GiuUano  di  Parma. 
Eathsheba  bathing ;  after  Bounieu, 

BENOITS,  Madame  Marie  Guilhelmine,  whose 
maiden  name  was  Laville-Leroux,  and  to  whom 
Demoustier  addressed  his  '  Lettres  a  Emilia  sur  la 
Mythologie,'  was  born  in  Paris  in  1768.  She  painted 
many  familiar  subjects,  and  the  portraits  of  several 
distinguished  persons,  among  which  are  those  of 
the  Emperor  Napoleon,  and  his  wife,  Maria  Louisa. 

118 


A  portrait  of  a  negress  by  her  is  in  the  Louvre. 
She  died  in  1826,  in  Paris. 

BENOUVILLE,  FBAN901S  Leon,  an  historical 
painter,  who  was  born  in  Paris  in  1821,  and 
studied  under  Picot.  His  earliest  exhibited  works  J 
were,  'Mercury  and  Argus'  (1839);  'The  HermitJ 
and  the  Slothful  Knights'  (1841),  taken  from  ani 
incident  in  Sir  Walter  Scott's  '  Ivanhoe  ;  '  '  Judith  '1 
(1844);  'Esther'  (1845).  In  1845  he  obtained! 
the  great  prize  of  Rome,  in  history,  with  his  pic- 1 
ture  of  'Jesus  in  the  Judgment  Hall.'  In  1853] 
he  exhibited  a  large  picture  of  'St.  Francis  of  I 
Assisi  dying,  blessing  his  native  city,'  which  was  [ 
purchased  for  the  Luxembourg  Gallery,  and  at] 
once  placed  him  in  a  distinguished  rank  in  his  art ;  I 
it  is  now  in  the  Louvre.  To  the  Universal  Exhi- 
bition of  1855  B^nouviUe  sent  '  Christian  Martyrs  I 
entering  the  Amphitheatre,'  and  '  A  Prophet  of  the  I 
Tribe  of  Judah  killed  by  a  Lion ; '  works  more  ] 
remarkable  for  their  composition  than  their  exe- 
cution. In  1857  he  exhibited  'The  Two  Pigeons,'  ] 
'  Raphael  seeing  the  Fornarina  for  the  first  time,'  1 
and  '  Poussin  on  the  banks  of  the  Tiber.'  About  ] 
this  time  he  painted  the  decoration  of  the  interior  | 
of  the  Hotel  de  Ville.  Early  in  1859  he  completed  [ 
two  pictures,  '  St.  Clair  receivng  the  body  of  St  j 
Francis  of  Assisi,'  and  '  Joan  of  Arc,'  which  were  1 
exhibited  in  the  Salon  of  that  year.  He  also 
painted  portraits.  He  received  t^vo  second  class  1 
medals  in  1852  and  1855  respectively  ;  a  first  class  j 
medal  in  1S53  ;  and  the  decoration  of  the  Legion  of] 
Honour  in  1855.  Hedied  suddenly,inPari8,in  1859. 

BENOUVILLE,   Jean  Achille,   French    land- 
scape painter,  born  in  Paris  on  the  15th  of  July, 
1815,  was  a  pupil  of  Picot, and  gained  the  'Prix  de 
Rome  '  for  landscape  in  1845,  having  taken  a  third-  ! 
class  medal  the  previous  year.  After  his  return  from  I 
Italy  he  principally  exhibited  scenes  inspired  by  | 
that  country,  together  with  landscapes  taken  from 
Central  France  up  to  about  the   year  1865.     He 
obtained  a  mention  in  1855,  and  a  medal  of  the  ] 
first  class  in  1863,  in  which  same  year  he  was  decor- 
ated with  the  Legion  of  Honour  on  the  5th  of  July. 
His  most  important  pictures  of  that  date  were  '  A  j 
View   of  Rome   from   the  Villa  Borghfese,'   'The 
Coliseum,  seen  from  the   Famese   Gardens,'  and  1 
'  The  Arno  near  Tivoli.'     He  then  made  an  expedi- 
tion to  Switzerland  and  painted  various  bits  of  the  ' 
grand    mountain    scenery   of  that   country.     His  I 
earliest  work,  like  liis  latest,  was  drawn  from  the  I 
environs  of  Paris,  in  which  city  he  died  on  the  6th  j 
of  February,  1891. 

BENSHEIMER,  Johann,  a  German  engraver,] 
medallist,  and  designer,  by  whom  we  have  a  set  of] 
portraits  of  the  Electors  of  Saxony.  He  worked  at  ] 
Dantzic,  Berlin,  and  Dresden,  where  he  lived  from  j 
1670  to  1700.  He  marked  his  plates  with  the 
initials  of  his  name,  J.  B. 

BENSON,   GiULio,   who   was    bom   at  Genoa, 
about  the  year  1601,  was  a  scholar  of  Giovanni  j 
Battista  Paggi.     Soprano  says  that  he  was  also  an 
eminent  architect.     He  painted  history  and  per- 
spective, was  patronized  by  the  Doria  family,  and 
executed  some  ornamental  works  in  their  palace. 
His  most  esteemed   work   is   the  '  Coronation   of 
the  Virgin,'  painted  in  fresco  in  the  church  of  the  | 
Nunziata.      There  are  several  of  his  oil  paintings  i 
in  the  churches  at  Genoa ;  that  of  St.  Domenico  is  j 
much  admired.     He  died  in  1668. 

BENT,  Johannes  van  deb.     See  Van  der  Bent. 

BENTLEY,   Charles,  a  painter  of  coast   and  > 
river  scenery,  in  water-colours,  was  born  in  1806. 


PAINTERS  AND  ENGEAVERS. 


He  was  elected  an  associate  of  the  Water-Colour 
Society  in  1834,  and  a  full  member  in  1844,  and 
constantly  contributed  to  their  amiual  exhibitions. 
His  subjects  are  views  in  France,  Holland,  and 
Italy,  as  well  as  on  the  shores  of  his  native  country. 
He  died  of  cholera  in  1854. 

BENTLEY,  Joseph  Clayton,  a  line-engraver, 
was  born  at  Bradford  in  1809.  His  first  attempt 
in  art  was  landscape  painting ;  but  coming  to 
London  in  1832,  he  commenced  to  study  engraving 
under  R.  Brandard.  Some  of  his  best  plates  were 
engraved  for  the  Vernon  Gallery,  after  Gains- 
borough, Callcott,  and  Linnell.  Always  of  a  weak 
constitution,  his  health  entirely  gave  way  under 
too  persistent  exertion,  and  he  died  in  1851. 

BENTLEY,  Richard,  the  only  son  of  the 
eminent  classical  scholar  Dr.  Bentley,  master  of 
Trinity  College,  Cambridge,  was  an  amateur  artist 
of  some  celebrity  towards  the  end  of  the  last 
century.  He  is  best  known  by  his  illustrations 
of  the  edition  of  Gray's  works  which  Horace 
Walpole  printed  at  Strawberry  Hill.  He  died  in 
1782. 

BENTUM,  Justus  van,  a  pupil  of  Godefried 
Schalken,  was  born  at  Leyden  in  1670,  and  died 
in  1727.  He  painted  in  the  manner  of  his  master. 
A  picture  by  him  of  a  'Cake-seller'  is  in  the 
Belvedere  at  Vienna. 
BENVENUTI,  De'.  See  Bologna,  Simone  da. 
BENVENUTO,  Giovanni  Battista,  called  Dell' 
Ortolano,  because  his  father,  Francesco  di  Benve- 
nuto,  was  a  gardener,  was  born  at  Ferrara  about 
the  year  1490.  By  some  writers  his  birth  is  placed 
as  early  as  1467.  After  studying  some  time  in  his 
native  city,  he  went  to  Bologna,  where,  in  1512-13, 
he  was  influenced  in  his  painting  by  the  works 
of  Raphael  and  Bagnacavallo.  He  painted  in  the 
style  of  Dosso  Dossi.  Barotti  mentions  several 
of  the  works  of  Benvenuto  in  his  description 
of  Ferrara,  where  they  are  highly  esteemed.  In 
the  church  of  San  Niccolo  he  painted,  in  1520, 
the  '  Virgin  Mary  and  Infant  Jesus,'  with  several 
Saints  ;  in  Santa  Maria  de'  Servi  the  '  Nativity  ; ' 
and  in  San  Lorenzo  the  'Adoration  of  the  Magi.' 
From  1512  to  1524  he  worked  at  Ferrara.  He 
is  supposed  to  have  died,  while  still  young,  in 
1525.  His  best  work  is  a  '  St.  Sebastian,  St.  Roch, 
and  St.  Demetrius,'  in  the  National  Gallery  — 
formerly  in  the  parochial  church  of  Bondeno,  near 
Ferrara.  In  the  Ferrara  Gallery  there  are  a  '  Na- 
tivity '  and  a  '  Christ  in  the  Garden  '  by  him. 

BENVENUTO,  Pietro,  who  was  born  at  Arezzo 
in  1769,  studied  the  works  of  Andrea  del  Sarto  at 
Florence,  and  those  of  Raphael  at  Rome.  He  was 
also  much  influenced  by  the  style  of  J.  L.  David, 
and  was  considered  one  of  the  leading  painters  of 
the  modern  Tuscan  school .  His  style  is  noble  and 
elevated,  although  somewhat  chargeable  with  cold- 
ness, his  design  pure  and  correct,  and  his  colour 
often  brilliiint.  He  painted  '  The  Saloon  of  Her- 
cules,' in  the  Pitti  Palace,  and  the  cupola  of  the 
chapel  of  the  Medici.  The  last-named  is  one  of 
the  most  important  of  his  works ;  in  it  are  repre- 
sented eight  grand  subjects,  taken  from  the  Old  and 
the  New  Testament,  the  four  Prophets  and  the  four 
Evangelists.  It  was  under  the  superintendence  of 
this  artist  that  Carlo  Lassinio  engraved  the  sub- 
jects in  the  famous  Riccardi  Gallery,  painted  by 
Luca  Giordano.  He  died  at  Florence  in  1844,  while 
holding  the  post  of  Director  of  the  Academy. 
Amongst  his  best  works  may  be  mentioned  the  fol- 
lowing : 


Arezzo.  Cathedral.  Judith  displaying  the  head  of 
Holofemes  to  the  assembled 
people  (engraved  hy  Ricciani). 

Florence.  Pal.  Corsini.  Pyrrhus  Idliing  Priam,  after  the 
taking  of  Troy  (engraved  iy 
the  same). 
„  -S'.  Lorenzo.  Scenes  from  the  Old  and  New 
Testament  —  on  the  ceiling  of 
the  Choir  chapel  (fresco). 
„         Vjfd.  His  own  Portrait. 

Ravenna.  Cathedral.      The  death  of  St.  Ohrysologus. 

BENVENUTO  da  QAROFALO.     See  Tisi. 

BENVENUTO  (di  Giovanni)  del  GUASTA. 
See  Df.l  Guasta,  Benvenuto. 

BENWELL,  John  Hodges,  born  at  Blenheim  in 
1764,  studied  in  the  Royal  Academy  Schools,  and 
in  1782  gained  a  silver  medal.  Some  of  his  works, 
such  as  his  '  Auld  Robin  Gray,'  '  Children  in  the 
Wood,'  &c.,  were  engraved.  He  used  water-colours 
and  crayons  in  an  effective  manner.  He  died  in 
1785,  and  was  buried  in  Old  St.  Pancras  church- 
yard. 

BENWELL,  Mart,  a  painter  of  portraits  in 
crayons  and  in  miniatures,  exhibited  her  works  at 
the  Incorporated  Artists'  Society  and  the  Royal 
Academy  between  1760  and  1782.  Her  portrait 
of  '  Queen  Charlotte '  was  engraved  by  Richard 
Houston.  Late  in  life  she  married  a  Mr.  Code, 
and  resided  at  Paddington,  where  it  is  believed 
she  died  soon  after  1800. 

BENZONO,  Antonio,  was  a  Veronese  painter  of 
the  16th  century,  and  a  disciple  of  Francesco 
Carota.  The  Gallery  at  Verona  possesses  a  '  Virgin 
and  Child,  between  St.  Jerome  and  St.  George,' 
signed  and  dated  by  him  in  1531.  No  dates  are 
given  of  his  birth  or  death. 

BER,  Jacob,  (corfimonly  called  Jacobber,)  was 
born  at  Bliescastel,  in  Bavaria,  about  1806,  and 
studied  under  Gerard  van  Spaendonck.  He  held 
for  a  long  time  the  post  of  flower  and  fruit  painter 
at  the  porcelain  factory  at  Sevres.  Ber  received 
numerous  medals  for  his  fruit  and  flower  paint- 
ings, and  the  cross  of  the  Legion  of  Honour.  He 
died, in  1864. 

BERAIL,  FRANgois,  a  French  painter  and 
geographer,  was  born  in  1665  at  Chateaudun,  where 
lie  died  in  1732.  There  is  a  view  of  the  Royal 
Abbey  of  the  Magdalen  at  Chateaudun,  engraved 
after  him  by  J.  B.  Scotin. 

BERAIN,  Jean,  'tlie  elder,'  a  French  painter,  was 
born  in  Paris  about  the  year  1638.  He  was  ap- 
pointed in  1674  "dessinateur  de  la  Cliambre  et  du 
Cabinet  du  Roi,"  in  which  capacity  it  was  his  duty 
to  design  the  scenery  and  costume  for  the  court 
fetes  and  ballets.     He  died  in  Paris  in  1711. 

BERAIN,  Jean,  'the  younger,'  who  was  born  in 
1674,  and  died  in  1726,  succeeded  his  father,  Jean 
Berain  the  elder,  as  draughtsman  to  the  king, 
and  etched  several  plates,  mostly  from  his  own 
designs,  in  very  neat  manner,  though  rather  stiff 
and  formal ;  among  others  are  the  following : 

Twelve  plates  —  Of  the  ornaments  of  painting  and 
sculpture,  which  are  in  the  gallery  of  Apollo  in  the 
Louvre. 

The  Mausoleum  for  the  Fimeral  of  Maria  Anna  Chris- 
tina Victoria  of  Bavaria. 

Devices  for  a  Fimeral  Ceremony. 

BERANGER,  Charles,  a  French  painter  of 
animals  and  fruit,  was  born  at  Sevres  in  1816.  He 
was  a  pupil  of  Paul  Delaroche,  and  died  in  Paris 
in  1853. 

BERARDI,  Fabio,  an  Italian  engraver,  born  at 
Siena  in  1728.     He  went  to  Venice  when  young 

H9 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  learned  the  art  of  engraving  under  Joseph 
Wagner.     He  has  engraved  several  plates  of  his- 
torical and  other  subjects,  chiefly  after  later  Vene- 
tian painters : 
St.  Seraphinus  worsMpping  the   Cross,  half  length; 

frontispiece.    1767.         .     ,  .  „     _.  ^ 

A  Woman  sleepmg,  surpnsed  by  a  Sportsman ;  after 

Piazetta. 
Four  Pastoral  Subjects ;  after  the  same. 
Isaac  blessing  Jacob  ;   after  J.  B.  PMoni. 
The  Sacrifice  of  Gideon  ;  after  the  same. 
Jacob  and  Kachel ;  after  J.  Varotti. 
Hagar  and  Ishmael  in  the  Desert ;  after  J.  T  arana. 
Six  Views  in  Venice;   after  Canaletto;   engraved  by 

Berardi  and  Waiiner.     1742. 
BEECH,  Va^'  flatten.    See  Platten-Bebch. 
BEECHEM.   NicoLAAS  (or  Claas,  the  shortened 
form)  PiETERSZ  is  commonly  known  as  Beechem 
or  Berghem.     By  several  writers  this  has  been  as- 
sumed to  be  a  mere  nickname,  and  various  reasons 
have  been  given  for  its  origin.     But  inasmuch  as 
he  is  entered  in  the  town-records  as  Berchem,  and 
that  he  adopted  it  for  the  signature  on  his  works, 
it  may  to  all  intents  and  purposes  be  considered  a 
surname.     He  was  born  at  Haarlem  in  1620.     His 
father,  whose  name  was  Pieter  Claasz,  was  known 
as  Pieter  Claasz  van   Haarlem,  and  it  was  from 
him  that  Nicolaas  received  his  first  instruction  in 
art.     He  afterwards  studied  under  Jan  van  Goijen, 
N.  Moeijaert,  De  Grebber,  with  Jan  Wils,  whose 
daughter  he  married,  and  with  Weeninx.     The  pic- 
tures he  paintod  in  the  early  part  of  his  life  have 
some  resemblance  to  the  works  of  Weeninx,  al- 
though touched  with  more  delicacy ;  and,  like  the 
pictures  of  that  master,  they  represent  seaports  and 
embarcations.     He  afterwards  formed  for  himself 
a  different  and  a  more  interesting  manner,  repre- 
senting  landscapes   of    most   delightful   scenery, 
enriched  with  architectural  ruins,  and  decorated 
with  charming  groups  of  figures  and  cattle.     His 
pictures   of   those   subjects    are   superior  to   any 
painter  of  his  country,  except  his  contemporary 
Jan  Both,  and  there  appears  to  have  been  some 
degree  of  rivalry  between  these  celebrated  artists. 
It  is  related   that   a   great  encourager   of   art,  a 
burgomaster   of    Dordrecht  —  Van   der   Hulk   by- 
name— engaged  Berchem  and  Both  to  paint  each 
a   picture,  for  which  they   were    to   receive    re- 
muneration,  and  the  one  whose  work  should  be 
thought  the  better  was  to  have  a  certain  sum,  in 
addition,  as  premium.     The  two  painters  did  their 
best,  and  on  showing  their  work  to  their  patron  he 
assured  them  that  their  admirable  performances 
had  deprived  him  of  the  capability  of  preference, 
and  that,  as  they  had  both  reached  tiie  perfection 
of  the  art,  they  were  both  entitled  to  the  premium, 
the  prize  of  fame.      Berchem's   painting   is  No. 
1076  in  the  Hermitage,  St.  Petersburg.     Descamps 
considered   it   his   masterpiece.       From   the   sub- 
jects and  the  manner  of  many  of  his  paintings  it 
has  been  concluded  that  Berchem  made  a  journey 
to  Italy,  though  no  precise   information   on  the 
subject  is  to  be  obtained.     He  died  at  Amsterdam 
in  1683.     The  foUo-n-ing  is  a  list  of  his  best  paint- 
ings, in  the  public  collections  of  Europe  :  they  are 
not  uncommonly  seen  in  the  private  galleries  of 
England  : 

Amsterdam.  Museum.  Winter  Landscape  (dated  1647 
„  „  The  three  flocks  of  Sheep. 

„  „  Cattle  crossing  a  Ford  (dated  1656). 

„  „  The  Ferry-boat. 

„  „  Landscape  and  Figures  (executed  in 

conjunction  tcith  Van  der  Hagen). 

120 


Berlin.       Museum.      Winter  landscape  (Bebchem  f). 

„  Mythological  scene  in  a  Landscape 

(Bekchem  f). 
„  The  Halt  at  the  Inn  (Bkbckem  f). 

"  „  The  Halt  at  the  Forge  (Bbrchkh). 

.,  Female  Head  (a  study). 

Brunswick.  Gallery.      Pomona  and  Vertumnus. 
Brussels.      Museum.     Landscape  with  Euins. 
^,  „  Eepose  in  the  Meadow. 

Cassel.  Gallery.     A  Forge  (Beechem). 

Darmstadt.  Gallert/.    Herdsmen  and  Cattle. 
Dresden.      Gallert/.     Angels  appearing  to  the  Shepherds 
(signed  Bekighem,  1649). 
„  „  A  Sunset  (Berchem). 

„  „  Landscapes  (eleven). 

Dolwich.      Gallery.     Landscape  with  Figures. 
„  „  Wood  Scene. 

J  „  Landscape  (called '  Le  Soir '). 

„  Landscape  (called  '  Le  Midi '). 

Hague.        Museum.     Landscape  (Beehighkm,  1648). 

„  The  Boar  Hunt  (Bebchem,  1659). 

"^  „  Italian  Ford  (Bebchem,  1661). 

„  Attack  on  a  Convoy  in  the  Moun- 

tains (Bebchem). 
London.      A'at.  Gall.  Crossing  the  Ford  (Bebchem  potst) 
„        „    Landscape  with  Ruin  (Berchem). 
II  „        „    ItaUan  Landscape  (Berchem). 

,.  „        „    Ploughing  (Berchem). 

,,  „        „    Landscape  (Berchem,  165 — ). 

Munich.     Pinakothek.  Landscapes. 

„  „  And  others ;  in  all,  eight  tcorks. 

Paris.  Louvre.      View  near  Nice  (C.  Berghem). 

„  Landscapes  with  Animals  (C.  Ber- 

ghem F.  1653). 
„  The  Ford  (Bebchem  f.  1650). 

,',  „  Eight  other  Landscapes  with  Animals. 

VeteTshuig.Hermitage  Angels  appearing  to  the  Shepherds 
(Berchem). 
,.         The  Repose  in  Egypt  (Bebchem). 
"  The    Rape    of    Europa   (Berchem, 

1649). 
„         Autumn  (N.  Bebchem). 
"  ,        Halt  of  Huntsmen  (Bebchem.    No 

"  "  1076 ;  one  of  his  best  wonfcs). 

„         Italian  Scenes. 
"  „        And  others ;  in  all,  sixteen  works. 

Viemia         Gallery.  Landscapes  with  Figures  and  Herds 
(five). 
„  Liechtenstein  Gal.  Death  of  Dido. 

„  Judgment  of  Paris. 

^  Landscape  (and  others). 

Berchem  sometimes  signed  his  name  C.  Berchem, 
the  C  standing  for  Claas,  and  also,  in  early  Ufa, 
Berighem,  or  Berrighem.  He  occasionally  pamted 
animals  in  the  works  of  other  masters,  as  Ems- 
dael  Hobbema.  Jan  Wils,  and  others.  The  style 
of  Berchem  is  excellent ;  he  painted  vnth  ?u/PP^" 
ing  facility,  yet  his  pictures  have  all  the  finish  that 
could  be  wished.  Extremely  happy  in  the  choice 
and  arrangement  of  his  compositions,  he  has  given 
a  singular  grace  and  beauty  to  his  figures,  without 
departing  from  the  propriety  of  costume.  The 
distribution  of  his  masses,  and  his  arrangement  ot 
light  and  shade,  are  masteriy  and  intelligent ;  and 
the  delicate  gradation  of  his  ai^rial  perspective,  the 
light  floating  of  his  skies,  and  the  transparency 
of  the  water,  have  never  been  surpassed  by  any 
painter  of  his  country.  -.    »  j 

This  celebrated  artist  has  also  amply  contnbutea 
to  the  portfolios  of  the  collector,  by  the  numerous 
exquisite  drawings  and  etchings  he  has  left  u« 
of  which  the  latter  are  executed  in  a  much  mor^ 
finished  manner  than  we  are  led  to  expect  from 
the  point  of  a  painter.  There  is  a  descriptive 
catalogue  of  the  etchings  of  Berchem,  _, 

by  Hendrik  de  Winter,  published  at  jf  ^ /^ 
Amsterdam  in  1767.  The  foUowmg  /<  JUcJ 
list  comprises  his  principal  plates :       -^'''  *^  '^' 


PAINTERS  AND  ENGRAVERS. 


SFTS    OF   FBINTS    ETCHES    BT    BEHCE£U. 

Six  plates  of  Cows,  with  the  title,  called  the  Milkmaid 

C.  Berghem,  fee.  et  exc.     1634  to  1644. 
Six  of  Sheep ;  in  the  title  print,  a  woman  sitting  on  a 

stone. 
Six  of  Goats ;  in  the  title  print,  a  man  sitting  with  a  dog. 
Eight  of  Sheep ;  in  the  title  print,  a  woman  standing 

near  a  rock. 
Eight  of  Sheep  and  Goats ;  in  the  title  print,  a  man. 
Five  larger  plates  upright,  one  dated  1652 ;  all  marked 

Berghem^fec. 
Four  smaller  plates  of  different  animals,  lengthways ; 

marked  N.  B. 
Six  of  the  Heads  of  Sheep,  Goats,  &c. ;  small ;  scarce. 

SINGLE    PRINTS    ETCHE1>    BY    BEKCHEM. 

A  Cow  drinking;  Berchem,fec.     1680. 

A  Cow  watering  ;   C.  P.  Berghem,  inv.  et  fee. ;  fine  and 

rare. 
A  Landscape,  with  two  Cows  lying,  and  one  standing; 

Berghem,  fee, 
A  Landscape,  with  Cows,  and  a  man  rithug  on  an  Ass ; 

N.  Berghem,  fee. 
A  Landscape,  with   a  Woman  bathing  her  feet  in   a 

Brook,  and  a  Man  behind  leaning  on  a   Stick,  with 

Animals  and  Figures,  and  a  Ruin  in  the  distance. 
A  Boy  riding  on  an  Ass,  speaking  to  another  Boy,  who 

is  playing  on  the  Bagpipes.    Called  '  The  Bagpiper  ; ' 

fine. 
A  Landscape,  with  a  Man  playing  on  the  Flute,  and  a 

Woman  sitting ;  without  a  mark  ;  scarce. 
A  Landscape,  with  a  Man  standing,  and  a  Woman  seated 

Buckling  a  child  ;  without  a  mark  ;  very  scarce. 

BERCHET,  Pierre,  a  French  painter,  born  in 
1659.  He  was  a  scholar  of  Charles  de  la  Fosse, 
under  whom  he  studied  till  he  was  found  capable 
of  undertaking  some  works  in  the  palaces  in 
France.  He  came  to  England  in  1681,  and  met 
with  employment  in  ornamenting  the  houses  of 
some  of  the  nobility.  His  best  work  is  the  ceiling 
of  the  chapel  of  Trinity  College,  Oxford,  where  he 
has  represented  the  '  Ascension.'  He  died  in  Lon- 
don in  1720. 

BERCK-HEIJDE,  Gerrit,  (Berkhetden,  or 
Berkeydon,)  the  younger  brother  of  Job  Berck- 
Heijde,  was  born  at  Haarlem  in  1638.  The  success 
of  his  brother  encouraged  him  to  become  a  painter, 
and  he  was  assisted  by  his  instruction.  He  entered 
the  guild  of  St.  Luke  in  1660.  These  artists  ap- 
pear to  have  been  bound  to  each  other  by  the 
most  affectionate  attachment ;  their  pursuit  of  the 
same  profession,  instead  of  producing  jealousy  or 
ill-will,  seems  only  to  have  inspired  them  with  a 
laudable  emulation,  and  a  desire  of  contributing  to 
each  other's  celebrity.  It  is  said  that  they  resided 
together  with  their  sister  Aechje.  Gerrit  painted 
at  Cologne,  Heidelberg,  Haarlem,  and  Amsterdam. 
He  died  at  Haarlem  in  1698.  The  pictures  of 
Gerrit  Berck-Heijde  are  faithful  representations 
of  the  principal  towns  in  Holland  and  Germany, 
painted  with  great  neatness,  and  well  coloured. 
They  are  sometimes  ornamented  with  figures  by 
Job,  who  surpassed  his  brother  in  that  branch  of 
art. 

Amsterdam.  Museum.  View  of  Dam  at  Amsterdam  {signed 
and  dated  1677). 

Antwerp.  Museum.     View  of  Amsterdam  (signed  Gerrit 
Berck  Heijde,  Haeelem,  1668). 

Berlin.       Museum.      View    of   the    Hague    (signed    G. 
Beeck-Hetde). 

Dresden.  „  A  pubUc  place,  with  antique  build- 

ings and  figures  (signed). 
„  „  A  Hawking  Party  (signed). 

Frankfort.  Stadel.        The  Stadhuis,  Amsterdam  (signed). 
n  J,  View  of  Amsterdam,  showing  the 

two  Synagogues  (signed). 


Eotterdam.  Museum.  View  of  Cologne  (signed  and  dated 

16T3). 
Petersburg.flermztaj'e.Houses  on  the  canal,  Haarlem. 
„  „  Hunting  party  (signed). 

BERCK-HEIJDE,  Job,  (Berkheyden,  or  Ber- 
keydon,) was  born  at  Haarlem  in  1630.  He 
studied  under  a  painter,  Jacob  Willemsz  de  Wet, 
but  by  a  natural  inclination  for  art,  he  employed 
himself,  when  young,  in  making  sketches  of  the 
environs  of  Haarlem,  and  the  commendation 
bestowed  on  his  first  essays  encouraged  him  to 
adopt  art  as  a  profession,  and  he  entered  the 
guild  of  St.  Luke  in  1654.  His  genius  led  him  to 
paint  landscapes  and  views  of  the  Rhine,  wliich 
he  represented  in  a  very  pleasing  manner,  and  his 
attentive  observance  of  nature  enabled  him  to  give 
an  appearance  of  air  and  sunshine  to  his  pictures, 
which  produces  a  very  agreeable  effect.  He 
decorated  his  landscapes  with  small  figures,  toler- 
ably correctly  drawn,  and  very  neatly  touched. 
He  sometimes  painted  village  feasts  and  merry- 
makings, which  are  not  without  considerable 
merit.  In  company  with  his  brother  Gerrit,  he 
travelled  through  Germany,  and  was  for  some  time 
in  the  employment  of  the  Elector  Palatine,  for 
whom  he  painted  several  pictures,  and  by  whom  he 
was  presented  with  a  gold  chain  and  medal.  He 
returned  with  his  brother  to  Holland,  where  he  met 
with  great  encouragement.  He  died  at  Haarlem 
in  1693.   The  following  are  some  of  his  best  works  : 

Amsterdam.  Museum.  View  of  Haarlem  (signed). 

„  Church  Interior. 

Berlin.       Museum.      Winter  Landscape  (signed  J.  Berck- 

Hetde). 
3TU88els.Aremberg  Co/. View  of  the  Old  Bank  at  Amster- 

'    dam.     1678. 
Dresden.    Gallery,       View  of  the  Town-hall  at  Amster- 
dam (signed  J.  Berck  Hetde). 
„  „  Interior  of  the  Cathedral  of  Haar- 

lem (signed  and  dated  1665). 
Rotterdam.  3Tuseum.   The  old   Exchange   at  Amsterdam 

(signed). 
PeteTshuTg. Hermitage.  Views  in  Amsterdam  (signed). 

BERDELLE,  Johann  Baptist,  born  at  Mentz 
in  1814,  studied  first  at  Diisseldorf,  under  Schadow, 
and  showed  a  great  talent  for  portrait  painting. 
When  visiting  Munich,  in  1840,  he  was  persuaded 
by  Genelli  to  devote  himself  entirely  to  historical 
painting.  He  became  a  follower  of  C.  Rahl,  and 
painted  in  the  manner  of  the  Venetian  artists  of 
the  16th  century.  He  executed  some  frescoes  in 
the  Polytechnikum  at  Munich,  where  he  died  by 
suicide  in  1876. 

BERENGUER,  Fra  Ramon,  Prior  of  the  Char- 
treuse of  Scala  Dei,  in  Catalonia,  painted,  about 
the  middle  of  the  17th  century,  a  series  of  small 
pictures  for  the  cloister,  from  the  History  of  St. 
Bruno  and  the  Order,  for  which  he  is  said  to  have 
made  copies  at  Parma  from  the  celebrated  works  of 
Carducho,  whose  style  he  imitated  with  tolerable 
success. 

BERETTINI.     See  Berrettini. 

BERG,  Magnds,  who  was  born  in  Norway  in 
1666,  was  a  painter  and  sculptor.  He  was  in- 
structed by  Andersen,  court  painter  in  Denmark. 

BERG,  NicoLAAS  VAN  DER.     See  Van  der  Berq. 

BERG,  Van  den.     See  Van  den  Berg. 

BERGAMASCO,  II.  See  Castelli,  Giovanni 
Battista. 

BERGAMO,  Andrea  da.     See  Cordelle  Agi. 

BERGE,  Adgdste  Charles  de  la.  See  De  la 
Berqe. 

121 


A  BIOGRAPHICAL  DICTIONARY  OF 


BERGE,  P.  VAN  PER.    See  Van  der  Bekge. 

BERGEN,  Dirk  van  den,  (or  Berghen).  See 
Van  den  Bergen. 

BERGEN,  NicOLAAS  van,  who  -was  born  at 
Breda  in  1670,  imitated  the  manner  of  Rembrandt ; 
he  painted  subjects  of  history,  interiors,  and  con- 
versation-pieces. He  died  at  Breda  at  the  age 
of  29. 

BERGER.  Daxiel.  an  engraver,  was  born  at 
Berlin  in  1744.  He  was  instructed  in  the  art  by 
his  father,  who  did  not  attain  great  celebrity :  he 
also  studied  under  G.  F.  Schmidt.  He  engraved 
several  portraits  of  the  Royal  Family  of  Prussia 
and  other  distinguished  personages,  and  many  his- 
torical and  other  subjects,  principally  after  the 
painters  of  his  country.  In  1787  he  was  appointed 
rector  and  professor  of  engraving  of  the  Academy 
at  Berlin.  He  died  in  1824.  Among  others  we 
have  by  him  the  following  plates : 

The  Death  of  Major  de  Kleist ;  after  D.  Ckodowiecky. 

The  Virgin  and  ChUd  ;  after  Correggio. 

A  Bust  of  a  Man  with  a  gold  chain  ;  after  G.  van  dm 

Eckhout. 
The  Death  of  General  Schwerin  ;  after  J.  C.  Frisch. 
The  Virgin  Mary  ;  after  Saphael. 
Serrius  TuUius  ;  after  Angelica  Kauffmann. 

BERGERET,  Pierre  Nolasque,  a  French  his- 
torical, landscape,  and  portrait  painter,  who  was 
born  at  Bordeaux  m  1780,  was  a  pupil  of  the 
elder  Lacour,  of  Vincent,  and  of  David.  His  sub- 
jects are  of  the  most  interesting  kind,  whether 
taken  from  national  histories  or  particular  facts 
relating  to  individuals.  Many  of  his  pictures  have 
been  placed  in  the  Luxembourg  and  other  royal 
palaces.  The  bas-reliefs  on  the  column  of  the 
Place  Vendome  were  designed  by  him  ;  he  painted 
four  of  the  portraits  for  the  hall  of  the  chancellors, 
and  made  designs  for  the  medals  struck  at  the 
Mint.  Many  of  his  pictures  have  been  engraved ; 
and  some  serve  as  illustrations  to  editions  of 
Boileau,  La  Fontaine,  and  other  French  classics. 
Bergeret  died  at  Paris  in  1863. 

BERGHE,  Van  den.     See  Van  den  Berghe. 

BERGHEM.     See  Berchem. 

BERGLER,  Joseph,  was  born  in  1753,  at  Salz- 
burg. He  was  Director  of  the  Prague  Academy, 
and  author  of  numerous  etchings  ;  during  bis 
sojourn  in  Rome  he  made  a  particular  study  of  the 
works  of  Raphael.  He  was  patronized  bj'  Cardinal 
Auersperg  and  Count  Thun.  His  paintings  had 
little  transparency,  and  were  wanting  in  reality  of 
colour,  but  he  made  some  good  portraits.  He 
died  at  Prague  in  1829. 

BERGMANN,  Georg,  who  was  born  at  Celle, 
near  Hanover,  in  1821,  studied  at  the  Diisseldorf 
Academy  from  1843  to  1847  ;  and  became  a 
painter  of  historical  and  biblical  subjects.  He 
died  in  1870.     He  executed  amongst  others; 

Madonna  and  Child.     1S47. 
Madonna  and  Child.     1850. 

The  Death  of  Charles  V.    1851.     (Purchased  by  the 
King  of  Hanover.) 

BERGMANN,  Ignaz,  born  at  Munich  in  1797, 
studied  painting  under  Danger  at  the  Academy 
of  that  city.  He  painted  portraits  in  oil,  but  is 
better  known  as  a  lithographer. 

BERGMt)LLER,  Johann  Georg,  was  born  at 
Turkheim,  near  Augsburg,  in  1688,  and  studied 
under  Andreas  Wolf.  He  painted  history  and  por- 
traits after  the  manner  of  Carlo  Maratti.  Some  of 
his  works  are  to  be  seen  in  the  churches  and  houses 
of  Augsburg,  where  he  resided,  and  where  he  died 
122 


in  1765.  He  is  chiefly  known  by  the  engravings 
which  he  made  from  his  own  designs.  Among 
others  we  have  the  following  : 

Four — the  Baptism  of  Christ,  the  Transfiguration,  the 
Kesurrection,  and  the  Ascension. 

The  Conception. 

The  Virgin  Mary  caressing  the  Infant  Christ. 

The  Death  of  St.  Joseph ;  inscribed  .S.  Joseph  moriens. 

Christ  on  the  Mount  of  Ohves. 

Sancta  Catherina  Tictrix. 

St.  Sebastian,  Martyr. 

The  Virgin  and  Infant  Jesus  presenting  the  Rosary  to 
St.  Dominick. 

St.  Francis  kissing  the  Foot  of  the  Infant  Jesus. 

An  emblematical  subject  on  the  Misfortunes  of  the 
Times:  inscribed  TiimuHum  adduxit  tempus. 

Justice  and  Peace  ;  Justitia  et  Pax,  ^c. 

The  Four  Seasons.     1730. 

Four  of  the  Signs  of  the  Zodiac ;  /.  G.  B.  1730. 

Five  figures  of  Women,  emblematical  of  the  Virtues. 

BERGDNZONI,  Lorenzo,  who  was  born  at 
Bologna  in  1646,  was  first  a  scholar  of  Giovanni 
Battista  Bolognini,  but  afterwards  studied  under 
Guercino.  His  first  attempts  were  in  historical 
subjects,  in  which  he  had  some  success ;  but 
having  painted  the  portraits  of  some  persons  of 
distinction  at  Bologna,  he  met  with  such  encourage- 
ment, that  he  devoted  himself  entirely  to  that 
department  of  the  art  in  which  he  excelled. 

BERJOT,  Antoine,  a  French  flower  and  minia- 
ture painter,  was  born  at  Lyons  in  1753,  and  died 
there  in  1843.  The  Musee  of  that  city  possesses 
many  of  his  works. 

BERKHEYDEN.     See  Berck-Heijde. 

BERKMANS,  Hendrik,  a  Dutch  painter,  born 
at  Klundert,  near  Willemstad,  in  1629.  His  first 
master  was  Thomas  W'illebort,  under  whom  he 
studied  some  time.  He  aftersvards  became  a 
scholar  of  J.  Jordaens.  On  leaving  that  master, 
he  painted  some  historical  pictures  which  gained 
him  reputation,  but  the  encouragement  he  met  with 
in  painting  portraits  induced  him  to  forsake  a  path 
which  promised  to  lead  him  to  celebrity.  Such 
was  the  desire  of  possessing  his  portraits,  that  it 
was  with  difficulty  he  could  fulfil  his  engagements. 
He  painted  the  Count  of  Nassau,  the  Admiral  de 
Ruyter,  and  many  of  the  most  distinguished  per- 
sonages of  liis  country.  His  best  work  is  a  large 
picture  of  the  '  Company  of  Archers,'  in  the  town- 
hall  at  Middelburg,  where  he  died  in  1690. 

BERLINGHIERI,  Barone,  was  the  son  of  Ber- 
lingherus,  a  Milanese,  who  was  still  living  in  1250. 
He  executed  several  painted  crucifixes  ;  amongst 
others  one  for  the  Pieve  of  Cas.abasciano,  in  1254; 
and  another  in  1284  for  Sant'  Alessandro  Maggiore, 
at  Lucca.  He  had  two  brothers.  Bonaventura 
Berlinghieri  is  known  to  have  painted  several 
panels  and  wall-paintings,  at  Lucca,  in  1235  and 
1244.  as  well  as  a  '  St.  Francis  of  Assisi.'  painted 
in  1235  for  the  church  of  San  Francesco,  of  Pescia. 
Marco  Berlinghieri.  known  as  a  miniature  painter, 
executed  an  Illuminated  Bible,  finished  in  1250. 

BERLINGHIERI,  Camillo,  was  born  at  Fer- 
rara  in  1596.  He  was  the  scholar  of  Carlo  Bononi, 
and  proved  himself  a  very  reputable  painter  of 
history.  His  works  are  chiefly  at  Ferrara  and  at 
Venice,  where  he  was  called  '  II  Ferraresino.'  In 
the  church  of  San  Niccolo,  at  Ferrara,  is  a  fine 
picture,  by  him,  of  the  '  Miracle  of  the  Manna,'  and 
in  Sant'  Antonio  Abate,  the  '  Annunciation.'  He 
died  at  Ferrara  in  1635. 

BERNA.     See  Barna. 

BERNABEI,  Pier  Antonio,  called  Della  Casa, 
a  native  of  Parma,  flourished  about  the  year  1550. 


PAINTERS  AND  ENGRAVERS. 


He  was  not  a  scholar  of  Parmigiano,  as  has  been 
asserted,  but  was  rather  a  follower  of  the  style  of 
Correggio.  Although  Orlandi  contents  himself 
with  styling  this  excellent  artist  Pittor  non  iyno- 
hUe,  his  great  work  of  the  cupola  of  La  Madonna 
del  Quartiere  proves  him  to  have  been  one  of  the 
ablest  fresco  painters  of  his  time  in  Lombardy.  It 
represents  a  '  Multitude  of  the  Blessed,'  a  grand 
composition,  copious  without  confusion  ;  the  figures 
designed  in  a  Correggiesque  style,  with  great 
relief,  and  a  vigour  of  colouring  which  has  still 
preserved  its  original  freshness.  There  are  other 
considerable  works  by  this  master  at  the  Carmel- 
ites, and  in  other  public  places  at  Parma. 

BERNAERD,  Nicaise,  a  Flemish  painter  of 
animals  and  flowers,  was  born  at  Antwerp  in 
1608,  and  was  a  scholar  of  Frans  Snyders.  The 
subjects  of  his  pictures  bear  a  great  resemblance 
to  those  of  his  master,  and  it  is  certain  that  they 
have  been  sold  as  the  genuine  productions  of 
Snyders.  He  went  to  Italy,  and  on  his  return 
settled  in  Paris,  where  his  works  were  much  ap- 
preciated. He  was  admitted  into  the  Academy  in 
1663,  and  died  in  1678.  There  are  two  paintings 
by  him  in  the  I.ouvre,  where  he  is  called  NlCASlus. 
Zani  places  his  birth  in  1593,  and  his  death  in  1663. 
BERNAERTS,  Balthazar,  (or  Bernaep).  The 
name  of  this  engraver  is  affixed  to  several  plates 
of  biblical  subjects,  engraved  from  the  designs  of 
Bernard  Picart,  published  at  Amsterdam  in  1720. 
They  are  executed  in  a  very  indifferent  style. 

BERNARD,  — ,  a  Neapolitan  painter,  born  in 
1680,  was  a  scholar  of  Solimena,  whose  manner  he 
studiously  followed.     He  died  in  1734. 

BERNARD,  Jan,  a  copyist  of  Paul  Potter  and 
Berchem,  born  in  1765,  died  in  1833.  He  was  a 
member  of  the  Institute,  and  of  the  Academy  of 
Fine  Arts  at  Amsterdam. 

BERNARD,  L.,  a  French  engraver  who  flour- 
ished towards  the  close  of  the  17th  century,  has 
left  us  amongst  others  the" following  plates: 

Portrait  of  Louis  XIV. ;  after  Poerson. 

Portrait  of  Sebastien  le  Prestre  de  Vauban ;  after  De 

Tr<ry. 
Shepherd  with  his  flock ;  after  J.  Forest. 

BERNARD,  Samuel,  a  miniature  painter  and 
engraver,  the  son  of  Noel  Bernard,  a  painter,  was 
born  in  Paris  in  1615.  He  was  a  scholar  of  Simon 
Vouet  and  of  Louis  du  Guernier,  and  made  some 
attempts  at  fresco  painting,  but  not  succeeding  to 
his  expectation,  he  for  some  time  painted  minia- 
tures, but  finally  devoted  hiraseLE  entirely  to  en- 
graving. He  became  Professor  of  the  Academy, 
and  died  in  Paris  in  1687.  He  engraved  several 
plates,  both  in  line  and  in  mezzotint,  of  which  the 
foUomng  are  the  principal : 

Charles  Louis,  Duke  of  Bavaria  ;  after  Van  Dyck. 

Louis  du  Guernier,  miniature  painter. 

Philip,  Count  of  Bethune. 

Anne  Tristan  de  la  Beaume  de  Luze,  Archbishop  ot 

Paris  ;  after  De  Troy. 
The  Apparition  of  St.  Peter  and  St.  Paul  to  Attila; 

after  Raphael.     His  best  work. 
The  Young  Astyanax   discovered  by  Ulysses  in  the 

Tomb  of  Hector  ;  after  Bourdon. 
The  Crnciiixion  ;  after  Ph.  de  Champagne. 
The  Virgin  Mary,  with   the  dead  Christ ;   after  the 

same. 
The  Ascension ;  after  the  same. 
An  allegorical  subject  of  Concord. 
The  Flight  into  Egypt ;  after  Guido. 

MEZZOTINTS. 
The  Portrait  of  Louis  XIV. ;  oval. 


Sebastian,  le  Prestre  de  Vauban ;  after  F.  de  Trm/. 

The  Nativity ;  after  Rembrandt. 

A  Herdsman  driving  Cattle. 

An  Ox  Market ;  after  B.  Castiglione. 

The  Eepose  ;  called  La  Zingara  ;  after  Correggio. 

BERNARD,  The  Little.    See  Salomon. 

BERNARD  op  BRUSSELS.     See  Orley. 

BERNARD,  Theodore.    See  Barentsen,  Dirk. 

BERNARDI,  Francesco,  called  Bigolaro,  was 
a  native  of  Verona,  and  a  disciple  of  Domenico 
Feti.  He  painted  historical  subjects  in  the  first 
half  of  the  17th  century. 

BERNARDINO  da  TREVIGLIO.     See  Zenale. 

BERNARDINO  di  BETTO.     See  Biagio. 

BERNARDINO  di  GIROLAMO  was  a  Friulan, 
who  lived  at  Udine  in  the  16th  century,  and 
decorated  the  churches  at  Lestizza  and  Cormons 
with  frescoes  in  1511  and  1518.  At  the  Town- 
hall  of  Udine,  is  a  '  Coronation  of  the  Virgin,'  by 
him.  No  records  remain  to  show  the  dates  of  his 
birth  or  death. 

BERNARDUS  de  FLORENTIA.  See  Floeen- 
tia,  Bernardus  de. 

BERNASCONI,  Laura,  or  Lucia,  a  Roman 
lady,  who  was  a  scholar  and  imitator  of  Mario 
Nuzzi,  better  known  as  Mario  de'  Fiori.  Her 
works,  like  those  of  her  preceptor,  have  lost  much 
of  their  original  beauty,  owing  to  the  use  of  some 
seductive,  but  treacherous,  vehicle  that  gave  bril- 
liancy at  first,  but  in  the  lapse  of  years  has  changed 
to  opacity,  giving  them  a  black  and  squalid  ap- 
pearance. The  dates  of  her  birth  and  death  are 
not  exactly  stated,  but  she  was  living  in  1674. 

BERNATZ,  Martin,  who  was  born  at  Speyer  in 
1802,  commenced  to  study  art  somewhat  late  in 
life,  in  the  Academy  at  Vienna.  He  journeyed 
with  Dr.  Schubert  to  Palestine,  Abyssinia,  and 
elsewhere,  and  made  many  valuable  views  of  the 
scenery,  which  he  afterwards  published  in  litho- 
graphy. He  settled  as  a  landscape  painter  at 
Munich,  where  he  died  in  1878. 

BERNAZZANO,  Cesare,  a  Milanese  painter, 
who  flourished  about  the  year  1536.  He  painted 
landscapes,  animals,  and  fruit,  in  which  he  excelled, 
particularly  as  a  colourist.  The  figures  in  his 
landscapes  are  generally  painted  by  Cesare  da 
Sesto,  a  scholar  of  Leonardo  da  Vinci,  under  whom 
Bernazzano  himself  is  said  to  have  studied.  Won- 
derful things  are  related  of  this  artist,  parallel  with 
the  stories  told  of  Zeuxis,  Protogenes,  Apelles,  and 
other  painters  of  antiquity. 

BERNETZ,  Christian,  who  was  bom  at  Ham- 
burg in  1658,  and  died  in  1722,  was  a  painter  of 
still-life  subjects.  A  picture  by  him  is  in  the 
Cassel  Gallery. 

BERNIERI,  Antonio,  who  was  born  at  Correggio 
in  1516,  was  first  instructed  by  AUegri ;  on  the 
death  of  that  master  he  went  to  Venice,  and  at- 
tended Titian's  school.  He  visited  Rome,  and 
returning  to  Venice  worked  there  until  1563.  He 
died  at  Correggio  in  1565.  Bernieri  was  an 
eminent  painter  of  miniatures.  He  is  sometimes 
called  '  Antonio  da  Correggio.' 

BERNINGROTH,  Johann  Martin,  the  son  and 
pupil  of  Martin  Berningroth,  was  born  at  Leipsic 
in  1713.  He  engraved  several  plates  for  the  book- 
sellers, but  he  is  best  known  as  an  engraver  of 
portraits,  neatly  executed  in  the  style  of  his  father. 
He  died  at  Leipsic  in  1767.  His  principal  works 
are: 

Frederick  Augustus  HI.  King  of  Poland. 
Frederick  Christian,  Prince  Eeg.  Pol. 

123 


A  BIOGRAPHICAL  DICTIONARY  OF 


John   Adolphns,  Duke  of  Saxe  -  "Weissenfeld.     1745. 

This  is  considered  his  best  pfate. 
Sebastian  Felix,  Baron  von  Schwannenberg. 
Christianas,  Prince  of  Denmark. 
John  Gottfried  Eichter,  Antiquary. 

BERNIKGKOTH,  Mabtik,  a  Gennan  engraver, 
born  at  Ranaelsburg  in  the  county  of  Mansfelden, 
in  1670.  He  resided  at  Leipsic,  where  he  engraved 
a  great  number  of  portraits  in  a  tolerably  neat 
manner,  among  which  are  : 

Prince  Leopold  of  Anhalt-Dessan,  on  horseback. 
Frederick  Angnstns  II.  King  of  Poland. 

He  died  at  Leipsic  in  1733. 

BERNINI,  GiovAJvXi  Loeenzo,  the  sculptor  and 
architect,  was  the  son  of  Pietro  Bernini,  a  Florentine 
painter  and  sculptor.  He  was  born  at  Naples  in 
1598 ;  and  occasionally  practised  the  art  of  paint- 
ing. His  own  portrait  painted  by  himself  is  in 
the  Uffizi  at  Florence.  He  died  at  Rome  in  1680. 
Milizia.  in  his  Vtfe  degli  ArckiteHi,  gives  a  list  of 
his  works  in  sculpture  and  architecture.  In  France 
he  is  called  '  Le  Cavalier  Bernin.' 

BERNUIS,  Baetolome  del  Rio,  a  Spanish 
painter,  was  a  scholar  of  Ga!<par  Becerra.  He 
chiefly  practised  his  art  at  Toledo,  where  he  held, 
for  the  last  twenty  years  of  his  life,  1607-1627, 
the  post  of  painter  to  the  Chapter. 

BERNYNCKEL,  Johann,  an  engraver,  whose 
works  are  little  known.  There  is  a  small  oval 
print  by  him  of  the  '  Adoration  of  the  Shepherds,' 
after  Johann  von  Aachen,  which  is  not  without 
merit. 

BERRAIN,  Jean.     See  Beeain. 

BERRE,  Jean  Baptiste,  born  at  Antwerp  in 
1777,  painted  subjects  in  the  manner  of  Weenix, 
He  afterwards  settled  in  Paris,  where  his  pictures 
are  esteemed  for  their  great  finish  and  fine  execu- 
tion.    He  died  in  Paris  in  1828, 

BERRESTYN,  C.  v.,  a  German  engraver,  who 
flourished  about  the  year  1650.  He  engraved  some 
plates  of  landscapes,  among  which  is  one  repre- 
senting a  woody  scene,  signed  with  his  name  and 
the  above  date.     It  is  very  scarce, 

BERRETTINI,  Pieteo,  (or  Beeettini.)  commonly 
called  Pietro  da  Cobtona,  Wiis  bom  at  Cortona  in 
1596.  He  was  first  instructed  by  Filippo  Berrettini. 
his  uncle,  and  afterwards  by  Andrea  Commodi, 
whom  he  accompanied  to  Florence,  and  there  en- 
tered the  atelier  of  Baccio  Ciarpi,  where  he  devoted 
himself  to  the  study  of  the  antique,  the  reliefs 
of  Trajan's  column,  and  the  works  of  Raphael 
and  Michelangelo.  He  resided  for  manj-  years  in 
Rome.  The  first  productions  of  Berrettini  that 
excited  attention,  were  two  pictures,  painted  whilst 
he  was  yet  very  young,  for  the  Cardinal  Sacchetti, 
representing  the  '  Rape  of  the  Sabines,'  and  the 
'  Battles  of  Alexander.'  They  attracted  the  notice 
of  Pope  Urban  VIII.,  who  commissioned  him  to 
paint  a  chapel  in  the  church  of  Santa  Bibiena, 
vrhere  Ciampelli,  an  artist  of  reputation,  was  at  that 
time  employed,  and  who  regarded  with  contempt 
the  audacity  of  so  young  a  man  venturing  on  so 
important  a  public  imdertaking ;  but  Berrettini 
had  no  sooner  commenced  the  work  than  Ciampelli 
was  convinced  of  his  ability.  The  success  of  that 
performance  procured  for  him  the  commission  for 
his  celebrated  work  of  the  ceiling  of  the  grand 
saloon  in  the  Palazzo  Barberini.  It  represents  an 
'Allegory  of  the  History  of  the  Barberini  Family,' 
The  richness  of  the  composition,  the  perfection  of 
the  chiaroscuro,  the  harmony  of  the  colour,  and 
the  splendour  of  the  style,  render  it  one  of  the 

124 


1  most  perfect  specimens  of  decoration.  It  has 
been  observed,  that  the  drawing  is  not  the  most 
correct,  and  that  the  draperies  have  not  the  ap- 
pearance of  nature ;  but  the  acknowledged  beauties 
of  this  great  work  are  so  agreeable  and  seductive, 
that  it  is  impossible  to  contemplate  it  without 
admiration.  After  having  finished  the  cartoons 
for  some  oil  paintings  for  the  mosaics  of  the 
dome  of  St,  Peter's,  Berrettini  travelled  through 
Lombardy,  visited  Venice,  and  returned  to  Rome, 
by  way  of  Florence,  where  he  was  engaged  by 
the  Grand  Duke  Ferdinand  II,  to  paint  the  saloon 
and  four  apartments  in  the  Palazzo  Pitti ;  here  he 
represented  the  'Clemency  of  Alexander  to  the 
Family  of  Darius  ; '  the  '  Continence  of  Cyrus  ; ' 
the  '  Firmness  of  Porseima ; '  the  '  History  of  Masi- 
nissa ; '  and  other  subjects.  He  did  not  entirely 
finish  the  works  he  had  projected  for  the  Grand 
Duke,  Disgusted  by  the  intrigues  of  some  artists 
who  were  jealous  of  his  reputation,  he  left  Florence 
abruptly,  and  could  never  be  prevailed  on  to  retnm. 
His  frescoes  were  finished  by  Ciro  Ferri.  On  his 
arrival  at  Rome  he  continued  to  be  loaded  with 
commissions,  and  was  employed  by  Alexander  VII., 
who  conferred  on  him  the  order  of  the  Golden  Spur. 
The  works  of  Berrettini  exhibit  a  most  fertile  in- 
vention and  an  uncommon  facility  of  operation. 
His  figures  are  not  designed  with  scrupulous  cor- 
rectness, nor  are  the  heads  of  his  females  strictly 
beautiful ;  but  they  have  always  a  grace  and  love- 
liness that  charm  in  spite  of  those  deficiencies.  If 
his  colouring  is  not  always  chaste,  it  is  agreeable, 
and  possesses  much  of  what  the  Italians  call  Vag- 
hezza.  His  powers  were  particularly  adapted  to 
the  great  works  that  require  to  be  executed  in 
fresco,  to  which  he  gave  a  brilliancy  and  force 
nearly  approaching  to  oil  painting,  Berrettini 
died  at  Rome  in  1669.  His  best  disciples  were 
Dandini,  Ciro  Ferri.  Francesco  Romanelli,  Pietro 
Testa,  Luca  Giordano,  and  Jacques  Bourguignon. 
He  was  also  an  architect. 

The  following  is  a  list  of  his  principal  paint- 
ings: 


Brussels,    Museum. 
Cortona.      .S.  Agostino. 
Dresden.     Gallery. 


Marriage  of  St.  Catharine. 
Virgin  and  Saints. 
Mercury    warning     J:neas    to 
hasten    his    departure    from 
Carthage. 
„  „  A  Komau   General  addressing 

the  consuls. 
Dulwich.    College.  St.  Martina  triumphing  over  the 

idols. 
Florence,    fj^zt.  Portrait  of  himself. 

„  Fitti  Pal.  Frescoes  (see  text). 

Hague.        Gallery.  Holy  Family. 

London,      Devonshire  H.  Landscape. 

„  Xorthbrook  Col.  Magdalene  with  Angels, 

Milan.         Brera.  Virgin  with  Saints. 

Munich.      PiTiakothek.       "U^oman  taken  in  adultery. 
Paris.  Louvre.  Jacob  and  Laban. 

„  „  Birth  of  the  Virgin. 

„  „  St.  Martina  before   Alexander 

Severus. 
,.  n  Virgin  and  Child  &  St.  Martina. 

,,  „  Komulus  and  Kemus. 

„  Dido  and  jEneas, 

FetetsbuTg.Hermitage.        Holy  Family. 

,)  „  Christ  and  the  Magdalene. 

,,  „  Martyrdom  of  St.  Stephen, 

£ome,        Barberini  Pal.  Allegory — fresco, 

„  Chiesa  yuova.  Paintings  on  nave,  dome,  and 

tribune. 


Vienna. 


^'al^^S.  ]  Conversion  of  St.  Paul. 


GulUry. 


St.  Paul  and  Ananias. 
Ketnm  of  Hagar. 


PAINTERS  AND  ENGRAVERS. 


Vienoa.  Gallery.        Marriage  of  St.  Catharine. 

„        SchSnbrun  Coll.    Hercules. 

BERRETTONI,  NircoL6.  Tliis  painter  was  born 
at  Montefeltro,  near  Macerata,  in  1637.  He  was  the 
ablest  scholar  of  Carlo  Maratti,  and  painted  his- 
torical subjects  with  skill.  He  was  also  influenced 
by  Guido  Reni  and  Correggio.  One  of  his  best 
pictures  is  an  altar-piece  in  the  church  of  Santa 
Maria,  in  Monte  Santo,  in  Rome,  representing  a 
subject  from  the  life  of  St.  Francis.  He  was  re- 
ceived into  the  Academy  of  that  city  in  1675,  and 
died  in  1682. 

BERRIDGE,  John,  a  pupil  of  Sir  Joshua  Rey- 
nolds, gained  a  prize  at  the  Society  of  Arts  in 
1766,  ana  exhibited  portraits  at  the  gallery  of  the 
Incorporated  Society  of  Artists  and  at  the  Royal 
Academy  between  1770  and  1785. 

BERRUGUETE,  Alonso,  an  eminent  Spanish 
painter,  was  born  at  Paredes  de  Nava,  in  Castile, 
in  1480.  When  he  had  made  some  progress  in  the 
art,  the  fame  of  Michelangelo  induced  him  to  visit 
Italy,  and  he  had  the  advantage  of  studying  under 
that  sublime  master.  He  was  the  contemporary 
and  friend  of  Andrea  del  Sarto,  and  made  such 
improvement  during  his  stay  in  Italy — both  at 
Florence  and  Rome — that  he  returned  to  Spain 
eminently  proficient  both  in  painting  and  sculp- 
ture. He  also  excelled  as  an  architect.  He  was 
the  first  artist  who  introduced  the  pure  Italian 
style  of  the  16th  century  into  Spain.  The  Emperor 
Charles  V.  took  him  under  his  immediate  protection, 
appointed  him  one  of  his  painters,  and  employed 
him  in  many  considerable  works  at  Madrid,  in  the 
palace  of  the  Prado,  and  in  the  Alhambra  of  Gra- 
nada. He  was  also  patronized  by  Philip  II.  He 
died  rich,  at  Alcala,  in  the  year  1561,  and  was 
buried  with  the  greatest  magnificence  at  the  ex- 
pense of  his  sovereign. 

BERRUGUETE,  Pedro,  a  native  of  Paredes  de 
Nava,  and  painter  to  Philip  I.  In  1483  he  was 
employed  with  Rincon,  by  the  Chapter  of  Toledo, 
to  paint  the  walls  of  the  old  '  Segrario '  of  the 
cathedral.  He  also  painted  the  cloister  in  1496, 
and  the  vestry  in  1497.  Cean  Bermudez  ranks 
him  as  a  painter  with  Pietro  Perugino.  His 
earliest  known  works  are  supposed  to  be  those 
which  he  painted  in  conjunction  with  one  Santos 
Cruz  for  the  high  altar  of  the  cathedral  at  Avila. 
Berruguete  died  at  Madrid  about  1500. 

BERSBNEV,  Ivan,  a  Russian  engraver,  born  in 
Siberia  in  1762.  He  was  a  scholar  of  Guttenberg, 
and  afterwards  of  Bervic,  at  Paris ;  he  executed 
several  excellent  plates,  and  died  in  1790. 

St.  John  the  Evangelist ;  after  Domenickino.    (Orleans 

Gallery.) 
The  Tempter;  after  Titian.    (Orleans  Gallery.) 
The  portrait  of  Kathariua  Nicolaevna  Orloff. 

BERTANO,  Giovanni  Battista.     See  Ghisi. 

BERTAUD,  Makie  Rosalie,  a  French  engraver, 
was  born  in  Paris  in  1738.  She  was  instructed 
in  the  art  by  St.  Aubin  and  Choffard,  and  engraved 
several  plates,  the  best  of  which  are  those  after  the 
pictures  of  Joseph  Vernet,  entitled  : 

Orage  imp^tueux  ;  an  oval  plate. 

La  Prehear  a  la  ligne. 

Le  Eocher  perc6. 

La  Barque  mise  a  flot. 

La  P6che  au  clair  de  la  Lune. 

Les  P^cheurs  ItaUens. 

BERTAUX,  Jean  DDPLESSIS.  See  Ddplessis- 
Bebtaux. 


BERTELLI,  Cbistofano,  an  Italian  engraver,  a 
native  of  Rimini,  in  the  Duchy  of  Modena,  flourished 
about  1525.  We  have  by  him  a  few  plates,  exe- 
cuted with  the  graver  in  rather  a  stifE  manner : 

The  Portrait  of  Ottavio  Farnese,  Duke  of  Parma. 

The  Conversion  of  St.  Paul. 

The  Virgin  and  Child,  with  St.  Augustine,  St.  Sebas- 
tian, and  St.  Helena,  with  St.  Joseph  sleeping. 

The  Virgin  and  Child,  with  St.  George  and  other 
Saints. 

The  different  Ages  of  Man. 

The  Virgin  and  Child,  with  St.  Sebastian,  St.  Francis, 
and  St.  Roch ;  after  Corregyio. 

BERTELLI,  Febeando,  an  engraver,  was  bom 
at  Venice  about  the  year  1525.  He  engraved  some 
plates  after  Venetian  and  other  painters.  By  him 
we  have : 

A  print,  entitled  Omnium  fere  gentium,  ^c.  Ven.    1560. 
Christ  curing  the  sick ;  after  Farinati.     1566. 
The  Crucifixion  ;  after  Giulio  Romano. 
Venus  and  Cupid  ;  after  Titian.     1566. 
Specchio  della  Vita  Humana.     1566. 

BERTELLI,  LncA.  This  engraver  was  pro- 
bably a  relation  of  Ferrando  Bertelli.  He  has 
engraved  several  plates  after  the  great  Italian 
painters,  and  is  said  to  have  been  a  printseller. 
Some  of  his  engravings  are  very  scarce. 

A  Bust  of  HippoUta  Gonzaga. 

The  Israelites  tormented  by  Serpents ;  after  Michel- 
angelo. 

The  Baptism  of  Christ. 

Christ  vpashing  his  Disciples'  feet ;  Lucas,  sc. 

The  Flagellation. 

The  Crucifixion. 

The  Descent  from  the  Cross  ;  fine. 

The  Four  Evangelists  ;  after  Coxcyen. 

The  Last  Judgment ;  after  J.  B.  Fontana. 

A  "Woman  and  Children  warming  themselves  by  a 
Fire  ;  after  Titian. 

BERTERHAM,  Johan  Baptist,  is  an  engraver 
whom  Strutt  has  noticed  under  the  two  names  of 
Berterham  and  Bexterham.  He  was  a  native  of 
the  Netherlands,  and  resided  at  Brussels  at  the  end 
of  the  17th  and  beginning  of  the  18th  century. 
His  principal  works  are  after  paintings  by  J.  de 
Roore,  N.  Cortens,  C.  Eykens,  and  others,  repre- 
senting the  history  of  the  Miraculous  Host  pre- 
served in  the  church  of  St.  Michael  and  St.  Gudule 
at  Brussels.  They  are  executed  with  much  freedom 
and  skill. 

BERTHELEMY,  Antoine.     See  Babthelemt. 

BERTHELEMY,  Jean  Simon,  an  historical 
painter,  who  was  born  at  Laon  in  1743,  was  a 
scholar  of  Noel  Hall^.  He  visited  Rome,  and 
painted,  in  addition  to  some  historical  and  poetical 
subjects,  which  have  been  engraved,  the  ceilings 
of  the  palace  of  Fontainebleau  and  the  Luxem- 
bourg. He  was  a  member  of  the  Academy,  and 
director  of  the  School  of  Design.  He  died  in 
Paris  in  1811. 

BERTHOLD,  Kabl  Feedinand,  born  at  Meissen 
in  1799,  was  a  designer  and  etcher.  He  attended 
the  Academy  at  Dresden  in  1811,  and  was  a  scholar 
of  Kijgelgen.  One  of  his  best  productions  is  the 
engraving  entitled,  'The  good  and  bad  effects  of 
Wine.'     He  died  in  1838. 

BERTHOLOTTI,  Andrea  di,  called  Belldnello, 
of  Cividale,  flourished  in  the  15th  century,  and 
was  a  master  in  the  Guild  of  San  Vito  in  1462. 
He  seems  to  have  contracted  for  altar-pieces  and 
mural  decorations,  at  Udine,  San  Vito,  and  the 
surrounding  towns,  up  to  1490.  At  the  Palazzo 
Communale  of  Udine  is  a  Crucifixion,  with  various 

126 


A  BIOGRAPHICAL  DICTIONARY  OF 


Saints,  dated  by  him  in  1476.  The  sacristy  of 
Santa  Maria  di  Castello,  San  Vito,  possesses  by 
him  a  '  Virgin  and  ChOd,  between  SS.  Peter  and 
Paul,'  dated  1488  ;  and  in  Savorgnano  is  a 
'  Madonna,'  signed  and  dated  1490.  The  dates  of 
his  birth  and  death  are  not  known. 

BERTHON,  Ren6  Theodore,  was  born  at  Tours 
in  1776,  and  studied  under  David.  He  painted 
scriptural  and  historical  subjects,  and  a  large 
number  of  portraits,  which,  although  of  no  great 
merit,  gained  him  a  certain  reputation  in  the  days 
of  the  first  empire  and  the  restoration.  Among 
his  portraits  are  those  of  Napoleon  I.  when  First 
Consul,  Pauline  Bonaparte,  Mile.  Duchesnois,  and 
Lady  Morgan.  Several  of  his  historical  pictures 
are  at  Versailles.  He  died  in  Paris  in  1859.  His 
daughter,  Sidonie  Berthon,  a  miniature  painter, 
was  a  pupil  of  her  father  and  of  Mme  de  Mirbel. 
She  was  bom  in  Paris  in  1817,  and  died  in  1871. 

BERTIN,  Francois  EDonARD,  bom  in  Paris  in 
1797,  studied  under  Girodet-Trioson  and  Bidauld. 
He  represented  the  details  and  general  character  of 
a  landscape  with  great  skill,  but  was  less  successful 
in  his  colouring.  He  was  inspector  of  the  Beaux 
Arts,  and  from  1854  director  of  the  'Journal  des 
D^bats.'  He  died  ui  Paris  in  1871.  The  following 
are  some  of  his  best  known  works- 

Cimabue  meeting  with  Giotto. 

CJhrist  on  the  Mount  of  Olives.     1837. 

A  view  of  Olevano. 

The  old  Tombs  on  the  Nile. 

The  Forest  of  Fontainebleau. 

View  of  an  excavated  Monastery  near  Viterbo. 

BERTIN,  Jean  Victor,  a  painter  of  historical 
landscapes,  who  was  born  in  Paris  in  1775,  was 
a  pupil  of  the  celebrated  Valenciennes,  and  was  in 
turn  the  master  of  Michallon,  Coignet,  Boisselier, 
Corot,  Enfantin,  and  others.  Amongst  his  prin- 
cipal works  may  be  cited  : 

The  Festival  of  Pan. 
The  Offering  to  Venus. 
Cicero's  Return  from  Exile. 
The  Flight  of  Angelica. 
The  Festival  of  Bacchus. 
Arrival  of  Napoleon  at  Ettlingen. 

Many  of  his  works  will  be  found  in  the  galleries 
at  Versailles,  and  in  other  public  collections.  In 
the  Louvre  there  is  a  '  View  of  the  Island  of 
Phcenos  with  the  Temple  of  Minerva.'  This  artist 
is  distinguished  for  the  correctness  of  his  design, 
the  severity  of  his  drawing,  and  his  harmonious 
colouring  ;  but  his  style  is  somewhat  mannered 
and  conventional.     He  died  in  Paris  in  1842. 

BERTIN,  Marc.     See  Ddval. 

BERTIN,  Nicolas,  a  French  painter,  was  bom 
in  Paris  about  1668.  His  father,  a  sculptor,  died 
when  Nicolas  was  but  four  years  of  age,  and  he 
was  placed  under  the  tuition  of  Jean  Jouvenet, 
and  afterwards  studied  under  Bon  Boulogne.  His 
progress  was  rapid,  and  at  eighteen  he  gained  the 
first  prize  at  the  Academy,  and  was  sent  to  Italy 
for  improvement,  where  "he  remained  four  years. 
On  his  return  to  Paris  he  distinguished  himself 
by  some  historical  works,  and  was  made  an  Acade- 
mician in  1703,  and  became  professor  in  1716. 
He  was  employed  by  Louis  XIV.  in  the  chateau 
of  Trianon,  where  he  painted  '  Vertumnus  and 
Pomona,'  and  other  works,  but  he  excelled  in 
cabinet  pictures.     He  died  in  Paris  in  1736. 

The  following  are  his  best  works  : 

Amsterdam.  Museum.  Joseph  and  Potiphar's  wile  {siyned). 

>'  n        Susannah  at  the  bath  {signed). 

Dresden.       Gallery.  The  Acorn  and  the  Pumpkin. 
126 


Dresden.       Gallery.   The  Bear  and  the  Amateur  Gar- 
dener. 
Paris.     St.  Germain  )  St.  Philip  baptizing  the  Eunuch  of 
des  Pris.  j      Queen  Candace  (the  sketch  for  thit 
picture  is  in  the  Louvre). 
„  Louvre.     Hercules  delivering  Prometheus. 

BERTINOT,  GusTAVE,  a  French  engraver,  was 
bom  at  Louviers  (Eure),  June  23,  1822.  He  was 
a  pupil  of  Drolling  and  Martinet,  and  gained  the 
'  Prix  de  Rome' in  1850.  In  1867  he  gained  a  medal 
of  the  first  class  and  the  Cross  of  the  Legion.  He 
succeeded  Maninet  at  the  Acaddmie  des  Beaux 
Arts  in  1878.  He  died  April  19,  1888.  Among 
his  best  plates  were  portraits  of  Ingres,  Cherubini, 
and  Van  Dyck,  and  the  '  Vierge  aux  Donataires,' 
after  Van  Dyck. 

BERTO  DI  GIOVANNI,  a  pupil  of  Perugino, 
painted  at  Perugia  from  1497  to  1525.  He  exe- 
cuted works  for  the  magistrates,  and  was  a 
member  of  the  guild  of  that  city.  He  painted 
with  a  predella,  in  the  convent  of  Santa  Maria  di 
Monteluce  at  Perugia,  the  follo^ving  subjects  from 
the  Life  of  Christ :  '  The  Nativity,'  '  The  Present- 
ation,' and  '  The  Marriage '  and  '  Death  of  the 
Virgin.'  These  form  part  of  a  large  work  of  the 
'  Coronation  of  the  Virgin,'  which  Raphael  was 
originally  commissioned  to  paint,  but  which  was 
subsequently  executed  by  an  artist  whose  name 
has  not  been  recorded. 

BERTOJA,  Jacopo,  incorrectly  Giacinto,  (or 
Bertogia,)  a  native  of  Parma,  painted  historical 
pieces  in  the  manner  of  Parmigiano ;  and  his  cabinet- 
pictures  were,  in  his  own  time,  much  prized.  He 
flourished  in  the  later  years  of  the  16th  century. 
Zani  tells  us  that  he  died  in  1618,  at  a  great  age. 

BERTOLOTTI,  Giovanki  Lorenzo.  According 
to  Ratti,  this  painter  was  bom  at  Genoa  in  1640i 
and  was  a  scholar  of  Francesco  Castiglione.  He 
painted  historical  subjects  with  considerable  skill; 
and  his  biographer  speaks  in  very  favourable  terms 
of  a  picture  painted  by  him  in  the  church  of  La 
Visitazione,  at  Genoa,  representing  the  '  Visitation 
of  the  Virgin  Mary  to  St.  Elizabeth.'  He  died 
in  1721. 

BERTRAM,  — ,  a  Dutch  engraver,  who  flour- 
ished about  the  year  1690.  He  engraved  several 
plates,  representing  views  and  public  buildings, 
which  are  executed  in  a  very  neat  style. 

BERTRAND,  James, a  French  painter.and  native 
of  Lyons,  was  one  of  the  most  distinguished  of 
Perrin's  pupils.  His  subjects  were  chiefly  poetical 
and  mythological.  Among  pictures  exhibited  by 
him  at  the  Salon  we  may  mention  :  '  The  Com- 
munion of  St.  Benedict'  (now  in  the  possession  of 
the  Societe  des  Beaux  Arts  at  Lyons),  '  The  Con- 
version of  St.  Thais," St.  Mary  of  Egypt,'  'Peasants 
of  the  Abruzzi  at  St.  Peter's,'  '  Phryne  at  Eleusis,' 
and  'The  Death  of  Sappho.'  He  died  in  Sep- 
tember, 1887. 

BERTRAND,  Noel  FRANgois,  a  French  en- 
graver, who  was  born  at  Soisy-sous-Etinlles  in 
1784,  was  a  pupil  of  the  j'ounger  Moreau  and  of 
David.  He  engraved  in  the  chalk  manner  a  large 
number  of  figures  taken  from  the  works  of  Raphael, 
Titian,  Rubens,  Poiissin,  LeBrun,  David,  and  other 
great  masters,  besides  some  portraits  of  sovereigns 
and  other  distinguished  persons.  He  died  at  Saint- 
Ouen  in  1852. 

BERTRY,  N.  H.  JEAURAT  de.     See  Jeadrat. 

BERTUCCI,  Giovanni  Baitista.    See  Faenza, 

G.  B.  DA. 

BERTDCCI,  Jacopo,  who  is  not  to  be  confounded 


PAINTERS  AND  ENGRAVERS. 


with  Giovanni  Battista  Bertucci,  flourished  at 
Faenza  about  1630,  and  painted  in  the  manner  of 
Raphael.  He  is  supposed  to  be  the  same  as 
Jacopone  da  Faenza,  who,  Vasari  tells  us,  painted 
in  San  Vitale  at  Ravenna. 

BERTUCCI-PINELLI,  Antonia,  was,  according 
to  Malvasia,  a  native  of  Bologna,  and  was  instructed 
in  art  by  Lodovico  Carracoi.  She  painted  some 
pictures  for  the  churches ;  among  others,  the  '  Guar- 
dian Angel,'  in  San  Tommaso  ;  and  '  St.  Philip  and 
St.  James,'  in  the  church  dedicated  to  those  saints. 
But  her  most  celebrated  performance  is  her  picture 
of  '  St.  John  the  Evangelist,'  in  the  Annunziata, 
painted  from  a  design  of  Lodovico  Carracci.  She 
died  in  1640.  Her  maiden  name  was  Pinelli,  but 
she  married  Giambattista  Bertucci  (not  Giovanni 
Battista  da  Faenza).  Zani  places  her  death,  and 
that  of  her  husband,  in  1644. 

BERVIC,  Charles  Clement,  the  most  eminent 
of  modern  French  engravers,  was  born  in  Paris  on 
the  23rd  of  May,  1766.  His  family  name  was 
Balvay,  but  this  he  used  only  in  legal  documents, 
preferring  to  adopt  as  his  usual  signature  that  of 
Ber\'ic,  which  was  a  surname  of  his  father.  His 
baptismal  names  were  those  of  Charles  Cli5ment, 
which  he  bore  in  his  youth  and  which  are  found  on 
his  earlier  works,  until,  having  need  of  his  certifi- 
cate of  baptism,  he  was  astonished  to  see  himself 
named  therein  Jean  Guillaume,  and  to  find  himself 
obliged  to  rectify  formally  all  the  documents  which 
he  had  executed  in  his  accustomed  names.  Upon 
examination,  however,  of  the  parish  registers, 
which  at  this  period  were  deposited  at  the  Hotel  de 
Ville,  it  transpired  that  the  duplicate  copy  sent 
to  the  Palais  de  Justice  was  in  error,  and  that  the 
names  of  Jean  Guillaume  assigned  to  Bervic  in  the 
latter  were  in  reality  those  of  the  infant  baptized 
before  him.  Nevertheless,  through  obstacles  which 
arose  in  the  rectification  of  his  family  papers,  he 
never  resumed  his  baptismal  names.  At  a  very 
early  age  young  Bervic  showed  a  decided  taste 
for  drawing:  he  amused  himself  by  copying  all 
the  prints  which  fell  into  his  hands,  and,  although 
entirely  without  instruction,  he  succeeded  fairly 
well.  This  led  to  his  entering  the  studio  of  Jean 
Baptiste  le  Prince,  where  his  talent  rapidly  de- 
veloped, and  he  grew  ambitious  of  becoming  a 
painter  ;  but  to  this  his  father  was  averse,  fearing 
that  he  might  not  attain  to  eminence  in  the  art. 
However,  by  way  of  compromise  with  a  passion 
which  could  not  be  subdued,  he  was  allowed  in 
1769  to  become  a  pupil  of  Jean  Georges  Wille,  one 
of  the  best  line-engravers  of  the  day.  His  earliest 
work  is  unknown,  but  the  first  plate  to  which  he 
put  his  name  was  that  of  '  Le  petit  Turc,'  aftei 
P.  A.  Wille,  which  he  completed  in  1774.  This 
engraving  bears  evidence  of  being  the  work  of  an 
inexperienced  although  not  unskilful  hand,  and 
has  the  metallic  lustre  and  other  defects  of  the 
school  of  Wille.  Marked  progress  was  shown  in 
his  engravings  of  'La  Demande  accept^e'  and 
'LeRepos,'  after  Lepici6,  and  in  his  portrait  of 
Senac  de  Meilhan,  after  Duplessie,  all  of  which 
were  finished  in  1783.  Tlie  portrait  of  S^nac  de 
Meilhan  first  revealed  the  power  which  Bervic 
possessed  of  freeing  himself  from  the  influences 
of  his  early  education,  and  of  rendering  truth- 
fully and  characteristically  the  varied  details  of 
his  subject.  This  talent  soon  met  with  its  due 
reward,  for  Ln  1784  he  was  elected  a  member  of 
the  Academy,  and  requested  to  engrave  for  his 
reception  a  portrait  of  Count  d'Angiviller ;   but 


commencing  soon  after  the  portrait  of  the  King, 
that  of  the  Count  was  laid  aside,  and  he  never 
became  an  academician. 

The  full-length  portrait  of  Louis  XVI.  in  his 
coronation  robes,  after  the  portrait  by  Callet  at 
Versailles,  established  the  reputation  which  Bervic 
had  obtained  by  the  wonderful  brilliancy  and  soft- 
ness with  which  he  reproduced  in  black  and  white 
the  diverse  tones  and  textures  indicated  in  paint- 
ing by  the  aid  of  colour.  Bervic  kept  pace  with 
the  revolutionary  movement,  and  at  one  of  the 
meetings  of  the  '  Soci6t^  populaire  des  Arts '  broke 
the  copper- plate  of  the  king's  portrait,  and  tore  in 
halves  all  the  proofs  of  it  which  he  possessed. 
The  plate  has  since  been  skilfully  repaired  by 
Chollet,  and  later  impressions  taken  from  it.  His 
next  works  of  importance  were  '  The  Education  of 
Achilles  by  the  centaur  Chiron,'  after  Regnault, 
and  its  pendant,  '  The  Rape  of  Deianeira  by  the 
centaur  Nessus,'  after  Guido,  the  origifials  of  both 
of  which  subjects  are  in  the  Louvre.  The  latter 
gained  the  decennial  prize  awarded  by  the  French 
Institute  for  the  best  engraving  executed  between 
the  years  1800  and  1810.  But  Bervic's  master- 
piece is  undoubtedly  his  plate  of  the  renowned 
antique  group  of  the  '  Death  of  Laocoon  and  his 
two  Sons,'  engraved  for  the  Mus6e  Franfais,  in 
which  he  appears  to  have  endeavoured  to  rival 
the  '  suffering  marble,'  as  it  has  been  aptly 
termed,  which  the  Rhodian  sculptors  Agesander, 
Polydorus,  and  Athenodorus  seem  to  have  ani- 
mated with  the  breath  of  life.  Yet  such  was  his 
modesty,  that  when  his  task  was  done  he  com- 
plained of  having  been  able  but  partially  to  realize 
his  aims.  ■■ 

Sovereigns  and  nations  hastened  to  do  homage 
to  Bervic's  talents.  Louis  XVI.  gave  him,  in 
1787,  the  apartments  in  the  Louvre  which  had 
been  vacant  since  the  death  of  the  painter  L^pici6. 
The  order  of  the  Reunion  was  conferred  upon  him 
in  1813,  and  the  Legion  of  Honour  in  1819.  Most 
of  the  academies  of  Europe  enrolled  him  among 
their  m.embers,  and  in  1803  he  became  a  member 
of  the  Institute  of  France.  Failing  sight  at  length 
compelled  him  to  lay  down  his  graver,  and  the 
'  Testament  of  Eudamidas,'  a  bust  of  Napoleon,  and 
a  half-length  portrait  of  Louis  XVIII.,  of  which 
but  three  proofs  exist,  remained  unfinished  at  the 
time  of  his  death,  wliicli  occurred  iu  Paris  on  the 
23rd  of  March,  1822.  He  was  twice  married  :  first, 
in  1788,  to  Mile.  Carreaux  de  Rozemont,  a  portrait 
painter  and  pupil  of  Madame  Guyard,  who  died 
in  the  same  year;  secondly,  in  1791,  to  Mile. 
Bligny,  who  died  in  1793.  Bervic  established  a 
school  of  engraving,  in  which  his  constant  aim 
was  to  warn  his  pupils  against  the  baneful  in- 
fluence of  servile  imitation,  and  to  guide  each  one 
according  to  the  bent  of  his  own  individual  genius. 
Toschi  and  Henriquel-Dupont  are  the  most  cele- 
brated among  his  many  scholars.  The  following 
are  his  most  important  works  : 

St.  John  the  Baptist  in  the  'Wilderness  ;  after  Raphael, 

(Florence  Gallery.) 
The  Education  of  Achilles  ;  after  Regnault. 
The  Rape  of  Deianeira ;  after  Guido. 
The  Laocoon  ;  after  a  drawing  by  Pierre  B  yuillon,  from 

the  antique.     (Musee  Fran(,-ais.) 
Innocence ;  after  Meriniee. 
lia  Demande  acceptee  ;  after  Lepioie. 
Le  Repos  ;  after  the  same. 
Le  petit  Turc;  after  P.  A.  Wille. 
The  Testament  of  Eudamidas  ;  after  N.  Poussin.     (This 

plate  was  finished  by  Toschi.) 

127 


A  BIOGRAPHICAL  DICTIONARY  OF 


Xxiuis  XYI.,  whole-length  ;  after  Callel. 

Napoleon  I.,  bust ;  after  a  drawing  bi/  Robert  lefebmre. 

(Never  finished.) 
I^uis  XVIII. ;  after  Jugustin.     (Never  finished.) 
Charles  Gravier,  Comte  de  Vergennes ;  after  his  ovm 

drawing. 
Michel  Letellier ;  after  the  engraving  by  IfanteuU. 
Carl  von  linn^  ;  after  A .  Eos/in. 
Prince  Ignacy  Jacob  Massalski,  Bishop  of  TVilna ;  after 

Ki/mli, 
Gabriel  Senac    de    Meilhan,   Intendant  of  Hainault; 

after  J.  S.  Duplessis. 

■'  K.  E.  6. 

BESCHEY,  Balthasar,  (or  Besschey,)  who  was 
born  at  Antwerp  in  1708,  studied  under  Pieter 
Strick,  an  unimportant  painter,  but  imitated  the 
styles  of  Van  Balen  and  of  De  Craeyer.  In  1763 
he  was  admitted  as  a  freeman  of  the  Guild  of 
St.  Luke,  and  two  years  later  became  one  of  the 
six  directors  of  the  Academy  in  the  above  town, 
and  in  the  year  following  that  was  elected  dean 
of  St.  Luke.  He  died  in  1776,  at  Antwerp,  while 
holding  the  post  of  professor  in  the  Academy  of 
that  city.  He  painted  landscapes  at  the  com- 
mencement of  his  artistic  career,  but  confined 
himself  in  after  life  to  sacred  history  and  por- 
traiture. In  tlie  two  latter  branches  of  art  he  is 
well  represented.  His  works  display  a  taste  for 
harmony,  and  are  for  the  most  part  carefully 
executed,  but  are  wanting  in  delicacy  of  colouring. 
The  following  may  be  mentioned : 

ABtverp.        Museum.    Joseph    sold    by    his    brethren 

{signed  and  dated  1744). 
„  „  Joseph  viceroy  of  Egypt  (signed 

and  dated  1744). 
„  „  Portrait     of    himself     (signed — 

presented   by   him   to   the  Aca- 

demy  of  St.  Luke  in  1763). 
„  n  Portrait  of  Martin  Joseph  Gee- 

raerts. 
Paris.  Louvre.  A   Flemish    Family   (signed  arid 

dated  1721). 
Petersburg.  Sermitage.    The  Five  Senses.    An  allegory. 

B.  BBSCHEIJ,  1733. 
.,  „  The  Five  Senses.     An  allegory. 

B.  BESCHEIJ. 

It  has  been  recorded  that  Beschey  had  a  son 
who  was  a  painter,  but  this  is  a  mistake.  He  had, 
however,  three  younger  brothers  who  followed  his 
profession,  under  his  instruction,  and  one  elder 
brother,  who  was  a  pupil  of  Goovaerf  s.  This  last 
mentioned  was  Carel  Beschey,  who  was  born  at 
Antwerp  in  1706.  Then,  after  Balthasar,  came 
Jacob  Andreas  Beschey,  born  at  Antwerp  in  1710, 
and  still  living  in  1773.  He  also  was  '  doyen '  of 
St.  Luke.  Nest  came  Joseph  Hendrik  Beschey, 
who  was  born  at  Antwerp  in  1714  ;  and  lastly,  Jan 
FRANgois  Beschey,  who  was  born  in  1717,  at 
Antwerp,  where  he  established  himself  as  a  picture 
dealer,  and  became  celebrated  for  the  copies  he 
made  of  the  works  of  Rubens,  Van  Dyck,  Teniers, 
Pijnacker,  Moucheron,  and  other  great  masters. 
He  was  dean  of  the  Guild  of  St.  Luke  in  1767. 

BESENZI,  Paolo  Emilio,  was  bom  at  Reggio 
in  1624.  He  distinguished  himself  as  a  painter,  a 
sculptor,  and  an  architect.  Although  the  friend 
and  companion  of  Lionello  Spada,  he  differed  from 
^8  style,  preferring  the  graceful  manner  of  Albani. 
His  principal  pictures,  which  establish  his  reputa- 
tion as  a  painter,  are  in  the  church  of  San  Pietro. 
He  died  in  1666. 

BESOET,  Jan,  a  Dutch  engraver,  was  born 
early  in  the  18th  century,  and  died  about  1769 
He  engraved  a  large  plate  of  the  fireworks  at  the 

128 


Hague  in  1748,  and  many  portraits,  book-plates, 
and  title-pages. 

BESOZZI,  Ambbogio,  a  painter  and  engraver, 
bom  at  Milan  in  1648.  He  was  first  a  scholar  of 
Gioseffo  Danedi,  and  afterwards  studied  under  Ciro 
Ferri.  He  excelled  in  painting  architectural  views, 
friezes,  basso-relievos,  and  other  works  of  decora- 
tion. He  died  at  Milan  in  1706.  Works  by  him 
are  in  the  galleries  and  churches  of  Milan,  Turin. 
and  Parma.     He  etched  two  plates : 

The  Portrait  of  Correggio. 

The  Apotheosis  of  a  Princess ;  in  which  the  portrait 

was  by  Bonacina,  and  the  other  part  of  the  plate  by 

Besozzi ;  after  Cesa7-e  Fiori. 

BESSA,  Pancrace,  a  flower  painter,  was  born 
in  Paris  in  1772.  He  was  a  pupil  of  G.  van 
Spaendonck  and  of  Redoute,  and  was  flower 
painter  to  the  Duchess  de  Berri,  to  whom  he  gave 
lessons,  and  to  the  Museum  of  Natural  History  at 
the  Jardin  des  Plantes.  He  died  at  Ecouen  about 
the  year  1835. 

BESSON,  Charles  Jean  Baptiste,  a  French 
fresco  painter  and  Dominican,  was  born  near  Besan- 
Qon  in  1816.  He  was  at  first  a  pupil  of  Souchon, 
but  upon  going  to  Rome  in  1835  he  entered  the 
studio  of  Delaroche.  In  1839  he  became  connected 
with  the  celebrated  Lacordaire,  and  in  the  follow- 
ing year  entered  the  Dominican  order,  taking  the 
name  of  Hj-acinthe,  but  did  not  entirely  abandon 
the  practice  of  his  art.  He  died  at  the  convent  of 
Mar-Yacub,  near  Mosul,  in  1861. 

BEST,  Jean,  a  French  wood-engraver,  was  born 
at  Toul  in  1808.  He  contributed  largely  to  the 
success  of  the  '  Illustration,'  as  well  as  of  the 
'  Magasin  pittoresque,'  of  which  he  was  one  of  the 
proprietors.  He  was  decorated  with  the  Legion 
of  Honour,  and  died  in  1879. 

BESTAKD  (or  Bastard),  a  painter  of  Majorca, 
lived  at  Palma  about  the  end  of  the  17th  century. 
He  painted  for  the  convent  of  Monte  Sion  there 
a  superb  picture,  measuring  24  palms  in  length, 
and  15  in  height,  representing  '  Christ  in  the  Desert 
attended  by  angels  ;  '  it  is  considered  as  one  of  the 
marvels  of  the  cit}-.  He  also  ornamented  several 
other  public  buildings  at  Palma. 

BETTELINI,  Pietro,  an  eminent  Italian  en- 
graver, was  born  at  Lugano  in  1763,  and  applied 
at  an  early  age  to  the  study  of  the  art.  He  received 
instructions  from  Gandolfi  and  Bartolozzi ;  but  in 
his  subsequent  works  he  inclined  more  to  the  style 
of  Raphael  Morghen.  He  died  at  Rome  in  1828. 
He  is  particularly  happy  in  liis  transcripts  of  light 
and  elegant  forms,  and  enters  with  much  taste  and 
spirit  into  the  subject  he  copies.  He  does  not  aim 
at  producing  brilliant  effects,  but  exercises  his 
graver  with  care  and  delicacy,  corresponding  with 
the  style  of  the  original  picture.  In  those  of  a 
sombre  or  forcible  character  he  is  not  equally  suc- 
cessful. He  was  held  in  high  estimation  by  Thor- 
waldsen,  who  employed  him  to  engrave  some  of 
his  finest  works,  both  figures  and  bassi-rilievi. 
His  engraving  of  the  '  Entombment,'  by  Andrea  del 
Sarto,  in  the  Florence  Gallery,  exhibits  all  the 
beauties  of  the  original,  and  may  be  quoted,  not 
only  as  his  masterpiece,  but  also  among  the  finest 
examples  of  art.  The  following  are  a  portion  of 
his  justly  esteemed  productions: 

Entombment :  after  Andrea  del  Sarto. 

Madonna  col  devoto ;  (^ter  the  painting  by  Correggxo,  in 

the  possession  of  the  King  of  Bavaria. 
Ecce  Homo  ;  afitr  Correggio. 
St.  John  ;  after  Domenichino. 


PAINTERS  AND  ENGRAVERS. 


Sibylla  Persica  ;  after  Guercino. 
f      AeceDsion  of  the  Virgin  ;  after  Guido. 

Hadonna  and  sleeping  Infant ;  after  Raphael. 

Judgment  of  Solomon  ;  after  the  same. 

Magdalene ;  after  Schidone. 

Maria  div.  Sapientiie ;  after  Titian. 

The  Virgin  Mary  reading  a  book  ;  after  the  same. 

Portrait  of  Galileo. 

Portrait  of  MacchiaveUi. 

Portrait  of  Poliziano. 

1  BETTES,  John,  an  eminent  miniature  painter  in 
the  reign  of  Queen  Elizabeth,  by  whom  he  was 
patronized.  He  was  a  pupil  of  Nicholas  Billiard, 
and  painted  the  Queen's  portrait.  He  died  about 
the  year  1570.  His  brother,  Thomas  Bettes,  was 
also  a  miniature  painter  as  well  as  an  illuminator. 

BETTI,  BiAGio.  This  painter  was  bom  at 
Carigliano  in  1535,  and  was  a  disciple  of  Daniele 
da  Volterra.  He  became,  in  1557,  a  monk  of  the 
order  of  the  'Padri  Teatini,'  of  San  Silvestro,  and  his 
works  are  principally  confined  to  the  monastery  of 
that  order  on  the  Quirinal  at  Rome.  In  the  refectory 
he  painted  the  '  Miracle  of  the  Loaves  and  Fishes,' 
which  was  restored  by  Anesi  in  1847;  and  in  the 
library,  'Christ  disputing  with  the  Doctors.'  He 
died  in  1605. 

BETTINI,  DOMENICO.  According  to  Orlandi, 
this  painter  was  born  at  Florence  in  1644.  He 
was  first  a  scholar  of  Jacopo  Vignali,  but  after- 
wards went  to  Rome,  and  became  a  disciple  of 
Mario  Nuzzi.  His  pictures,  which  are  well  painted, 
represent,  like  those  of  his  instructor,  fruit,  flowers, 
birds,  and  fish. 

BETTINI,  PlETEO,  an  Italian  engraver  of  the 
17th  century,  who  etched  a  few  plates  in  a  slight 
manner.     By  him,  among  others,  we  have : 

Christ  appearing  to  Peter  ;  after  Domenico  Ciampclli. 
The  Martyrdom  of  St.  Sebastian  ;  after  Lomenichino. 

BETTO,  Bernaedino  di  (Pintdbicchio).    See 

BlAGIO. 

BETTOLI,  Cajetano.  The  name  of  this  artist 
is  affixed  to  an  etching  representing  the  '  Death  of 
St.  Joseph,'  after  Marc  Antonio  Franceschini.  It 
is  executed  in  a  free,  spirited  style,  and  appears  to 
be  the  production  of  a  painter. 

BEUCKLAER  (or  Bedkelaar).  See  BnErKELAER. 

BEUERLEIN,  Hans,  an  old  painter  of  Nurem- 
berg, highly  praised  by  Nendorfer,  painted  a 
Crucifixion,  on  the  wall  of  the  Prediger  Kloster  in 
Nuremberg,  now  destroyed.     He  died  about  1500. 

BEURS,  WiLLEM,  was  born  at  Dordn-cht  in 
1656.  He  was  a  scholar  of  Willem  van  Drillen- 
burg,  and  painted  landscapes,  portraits,  and  flowers 
with  some  dexterity  and  skill.  He  also  published 
works  upon  art. 

,  BEUSEKOM,  Feans  van,  a  Dutch  engraver, 
flourished  from  about  1640  to  1650.  He  was 
principally  employed  by  the  booksellers  in  engrav- 
ing portraits.  Among  others,  he  engraved  that  of 
Ant.  le  Brun,  after  a  picture  painted  by  Anselmus 
van  Hulle. 

BEUTLER,  Jakob,  a  German  engraver,  who, 
according  to  Professor  Christ,  was  a  native  of 
Ravensburg,  flourished  about  the  year  1593.  The 
prints  he  engraved  are  generally  very  small,  on 
which  account  he  is  ranked  among  the  artists 
distinguished  by  the  name  of  the  Little  Masters. 
He  usually  marked  his  prints  with  the  initials  of 
his  name,  /.  B.  As  this  mark  was  occasionally 
used  by  other  German  engravers,  particularly  Jacob 
Binck  and  Hans  Burckmair,  who  lived  about  the 
same  period,  it  requires  great  attention  to  distin- 
_  guish  their  works. 

K 


BEUTLER,  Matthias.     See  Bettler. 

BEVEREN,  Charles  van,  bom  at  Mechlin  in 
1809,  was  instructed  in  the  rudiments  of  art  in  the 
academy  of  his  native  city  and  at  Antwerp.  He 
settled  in  Amsterdam  in  1830,  subsequently  visiting 
Paris,  Rome,  and  other  cities  of  Italy,  and  dis- 
tinguished himself  as  a  painter  of  history,  genre, 
and  portraits.  He  died  at  Amsterdam  in  1850. 
The  best  known  of  his  works  are : 

The  Confession  of  a  Sick    Girl   {in  the  Pinakothek  at 

Munich). 
Male  Figure.    A  study  (in  the  Rotterdam  Museum). 
The  Vision  of  St.  Ignatius. 
The  Death  of  St.  Anthony  of  Padua  {in  the  church  of 

Moses  and  Aaron  at  Amsterdam.     His  ckef-d'ceuvre). 

BEVILACQUA.     See  Salimbeni,  VENTtTEA. 

BEVILACQDA,  Ambrogio  and  Filippo,  Milanese 
painters,  were  brothers  and  partners,  and  flourished 
at  the  end  of  the  15th  century.  They  were  em- 
ployed at  the  Palace  and  in  the  Duomo,  and 
Ambrogio  painted  an  allegory  of  Cli;uity  on  the 
front  of  the  Milan  Poor-house  in  1486.  The  ac- 
knowledged picture  by  him  is  a  '  Virgin  and  Child 
between  King  David  and  Peter  Martyr,'  in  the 
Brera.    See  also  Vigevano,  Ambrogio  da. 

BEWICK,  John,  a  younger  brother  of  Thomas 
Bewick,  was  born  at  Cherryburn,  in  the  parish  of 
Ovingham,  in  1760,  and  in  1777  was  apprenticed  as 
a  wood-engraver  to  his  brother  and  Ralph  Beilby, 
in  Newcastle.  He  assisted  in  the  cuts  of  '  jSUsop's 
Fables,'  and  drew  and  engraved  illustrations  for 
Goldsmith's  and  Parnell's  Poems,  as  well  as  for 
'The  Looking  Glass  for  the  Mind,'  and  '  Blossoms 
of  Morality,'  published  in  1796.  He  also  made  the 
designs  for  '  Somerville's  Chase,'  but  did  not  live  to 
engrave  them  all.  He  died  in  1795,  at  Ovingham. 
Though  he  was  not  so  clever  an  artist  as  his  more 
celebrated  brother,  many  of  the  works  of  John 
Be\\ack  deserve  much  praise. 

BEWICK,  Thomas,  the  eminent  restorer  of  the 
art  of  engraving  on  wood,  was  bom  at  Cherryburn, 
in  the  parish  of  Ovingham,  about  twelve  miles 
westward  of  Newcastle,  in  1753.  At  the  age  of 
fourteen  he  was  apprenticed  to  Ralph  Beilby  of 
Newcastle,  a  copper-plate  engraver.  He  might 
have  had  a  master  of  more  eminence,  but  he 
could  not  have  had  one  more  anxious  to  en- 
courage his  talents,  and  to  point  out  to  him  his 
peculiar  line  of  excellence.  It  happened  that 
Charles  Button  (afterwards  the  distinguished  Dr. 
Button  of  Woolwich),  then  a  schoolmaster  at 
Newcastle,  was  preparing  his  great  work  on  men- 
suration, and  applied  to  Beilby  to  engrave  on 
copper  the  figures  for  the  work ;  he  judiciously 
advised  that  they  should  be  cut  on  wood,  that  each 
figure  might  accompany  the  proposition  it  was 
intended  to  illustrate.  The  young  apprentice  was 
employed  to  execute  many  of  these ;  and  the 
beauty  and  accuracy  with  which  they  were  finished 
led  his  master  strongly  to  advise  him  to  devote  his 
attention  to  the  improvement  of  this  long-lost  art. 
At  the  expiration  of  his  apprenticeship,  Bewick 
spent  a  short  time  in  London  and  in  Scotland,  and 
on  his  return  to  Newcastle,  entered  into  partner- 
ship with  Beilby.  About  this  time,  Thomas  Saint, 
a  printer  of  Newcastle,  was  at  work  on  an  edition  of 
'  Gay's  Fables,'  and  Bewick  was  engaged  to  furnish 
the  cuts.  One  of  these,  the  '  Old  Hound,'  obtained 
the  premium  offered  by  the  Society  of  Arts  for  the 
best  specimen  of  wood-engraving,  in  the  year  1775  ; 
but  the  work  was  not  published  until  1779.  His 
success  in  this  and  an  edition  of  '  Select  Fables '  by 

129 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  same  printer,  induced  Bewick  to  project  the 
'  History  of  Quadrupeds.'  This  work,  after  several 
years  of  preparation  and  labour,  was  published  in 
1790.  In  the  preparation  he  was  encouraged  and 
patronized  by  Marmaduke  Tonstal  of  Wycliffe, 
whose  museiun  of  animals,  both  winged  and  quad- 
ruped, living  and  dead,  was  very  extensive.  In 
the  intervals  of  collecting  materials  for  this  work, 
Bewick  was  employed  in  engraving  on  copper 
the  plates  of  natural  history  for  a  small  quarto 
volume,  entitled  '  A  Tour  through  Sweden,  Lap- 
land, &c.,  by  Matthew  Consett,  the  companion  of 
Sir  G.  H.  Liddell;'  'The  Whitley  large  Ox' 
(bred  in  Mull).  From  the  moment  of  the  pub- 
lication of  the  '  History  of  Quadrupeds,'  which 
passed  through  three  editions  in  three  years, 
Thomas  Bewick's  fame  was  established.  He  sub- 
sequently, in  conjunction  with  his  brother  John, 
supplied  the  woodcuts  for  the  elegant  edition  of 
'  Goldsmith's  Traveller  and  Deserted  Village,'  and 
for  '  Pamell's  Hermit,'  both  printed  by  Bulmer. 
These  appeared  in  1795,  and  were  allowed  to  excel 
everything  of  the  kind  that  had  before  been  pro- 
duced. In  1797  was  published  the  first  volume  of 
'  British  Birds,'  for  which  Beilby  furnished  the 
written  descriptions  ;  the  second  volume,  on  '  Brit- 
ish Water  Birds,'  devolved  on  Bewick  alone,  who 
was  assisted  in  the  literary  corrections  by  the  Rev. 
Henry  Cotes,  vicar  of  Bedlington.  These  were 
followed  by  numerous  illustrations  of  publications 
of  the  day,  in  which  he  availed  himself  of  the 
talents  of  the  several  pupils  whom  he  had  in- 
structed, and  who  have  since  so  eminently  dis- 
tinguished themselves  in  the  same  line  of  engrav- 
ing ;  among  these  were  Nesbitt,  Harvey,  Robert 
Johnson,  Luke  Clennell,  Ransom,  and  Hole.  Bewick 
was  indefatigable,  and  the  number  of  engravings 
he  executed  is  almost  inconceivable.  One  volume, 
edited  by  the  Rev,  T.  Hugo,  and  published  in  1870, 
contains  impressions  of  upwards  of  2000  wood- 
cuts. He  was  an  early  riser ;  fond  of  indulging  in 
rustic  and  athletic  sports,  which  are  so  prevalent 
in  the  north ;  was  warm  in  his  attachments,  and 
had  some  humorous  peculiarities.  He  died,  as  he 
had  lived,  a  truly  honest  man,  near  the  Windmill 
Hills,  at  Gateshead,  in  1828.  There  are  several 
memoirs  of  his  life,  the  best  of  which  is,  perhaps, 
that  which  is  included  in  the  '  History  of  Wood 
Engraving,'  by  John  Jackson,  who  devoted  to 
Bewick  fifty  pages  of  his  book,  illustrated  with 
thirty  engravings. 

BEWICK,  William,  born  at  Harworth,  Dur- 
ham, in  1795,  came  to  London  in  early  life,  and 
became  a  pupil  of  Haydon,  at  whose  request  he 
made  drawings  of  the  Elgin  Marbles  for  Goethe. 
In  1822  he  sent  a  large  picture  of  'The  meeting 
of  Jacob  and  Rachel  to  the  British  Institution. 
A  few  years  afterwards  Sir  Thomas  Lawrence  gave 
him  a  commission  to  copy  Michelangelo's  frescoes 
in  the  Sistine  Chapel,  and  for  three  or  four  years 
he  resided  in  Italy.  He  then  settled  in  London 
for  a  few  years  as  a  portrait  painter,  until  ill-health 
compelled  him  to  retire  into  the  country.  In  1843 
he  was  one  of  the  competitors  for  the  decorations 
of  the  Houses  of  Parliament,  and  sent  up  a  cartoon 
of  'The  Triumph  of  David.'  He  died  in  1866. 
(See  '  Life  of  William  Bewick,'  by  Thomas  Land- 
seer,  1871.) 

BEXTERHAM.     See  Bertekham. 

BEYER,  Jan  de.     See  De  Beijeb. 

BEYEREN.     See  Beijeren. 

BEYLBROECK,  M.,  a  Flemish  engraver,  who 
130 


resided  in  England  about  the  year  1713.  He  en- 
graved a  plate  representing  the  '  Death  of  Dido  ' 
after  Sebastien  Bourdon,  which  is  neatly  executed 
but  stiff  and  formal,  and  without  much  effect. 

BEYTLER,  Matthias,  (Beitleb  or  Beutlkb,) 
was  bom  at  Augsburg  about  1560.  About  1582 
he  was  living  at  Anspach,  where  he  distinguished 
himself  as  an  engraver.  The  following  works  by 
this  artist  are  now  in  existence : 

A  little  Book  of  Animals.     1582. 
Twelve  plates,  mostly  representing  Animals. 
A  little  Book  of  Roses,  &c.     1582. 
Eleven  plates  with  different  figures. 
Christ  on  the  Cross. 

BEZ.  See  Bastier  de  Bez. 
BEZZDOLI,  Giuseppe,  historical  painter,  was 
bom  at  Florence  in  1784.  His  principal  works 
are  found  in  his  native  town ;  at  St  Remi,  '  The 
Baptism  of  Clovis ; '  in  the  Villani  mansion,  '  A 
Madonna '  in  fresco ;  in  the  Pitti  Palace,  '  The 
Entry  of  Charles  VIII.  into  Florence.'  His  own 
portrait  is  in  the  Uffizi.  In  the  Borghese  Palace 
at  Rome  are  two  ceilings,  representing  '  The  Toilet 
of  Venus,'  and  '  Venus  carrying  off  Ascaniue, 
He  died  in  1855. 

BIAGIO,  Bebnabdino  (di  Betto)  di,  is  commonly 
known  as  Pintubicchio  (the  'little  painter,'  a  name 
he  acquired  from  the  smallness  of  his  stature,  and 
which  he,  to  some  extent,  adopted  in  order  that 
he  might  be  distinguished  from  a  Bernardino  of 
Perugia,  a  painter  of  no  great  merit) ;  he  was 
also  called  Sobdicchio,  either  because  of  deafness, 
or  of  his  corpulency.  His  father's  name  was 
Benedetto  Biagio,  and  hence  he  was  sometimes 
called  Bernardino  di  Betto.  He  was  born  at  Pe- 
rugia in  1464.  He  was  an  assistant,  and  probably 
also  the  pupU,  of  Pietro  Perugino,  with  whom, 
according  to  Vasari,  he  worked  in  the  Sistine 
Chapel.  Amongst  his  earliest  paintings  were  some 
frescoes  in  Santa  Maria  del  Popolo,  executed  for 
Cardinal  della  Rovere.  He  was  employed  bj 
Innocent  VIII.  to  paint  frescoes  in  the  castle  of 
Sant'  Angelo,  and  the  walls  in  the  Belvedere  (now 
known  as  the  Museo  Clementino),  and  by  Alex- 
ander VI.  to  decorate  the  Appartamento  Borgia  in  the 
Vatican.  He  decorated  six  rooms,  in  one  of  which 
the  frescoes  were  destroyed  by  Leo  X.  to  make 
way  for  works  by  Giovanni  da  Udine  and  Perino 
del  Vaga.  The  other  five,  however,  remain  intact. 
Pinturicchio  also  painted  frescoes  representing  the 
'  Life  of  St.  Bernard  of  Siena '  in  the  Cappella 
Bufalini  in  Santa  Maria  Ara  Coeli,  and  varions 
frescoes  in  Santa  Maria  del  Popolo.  While  at 
Rome,  in  1491,  he  was  called  to  Orvieto  to  decor- 
ate the  cathedral  of  that  town,  but  of  the  works 
which  he  then  executed  only  much-damaged  frag- 
ments remain.  In  1496  Pinturicchio  went  from 
Rome  to  Perugia  and  executed  many  good  works. 
In  1500 — 1501  he  painted  frescoes,  representing 
the  '  Annunciation  of  the  Virgin,'  and  '  Christ  dis- 
puting with  the  Doctors,'  in  the  cathedral  at 
Spello.  He  next  painted  ten  subjects  from  the 
'  LiEe  of  Enea  Silvio  Piccolomini '  (afterwards  Pius 
II.) — his  best  and  most  famous  work  —  in  the 
library  of  the  cathedral  of  Siena.  In  these  fres- 
coes he  is  supposed  to  have  received  assistance 
from  Raphael  in  the  general  design  and  the  out- 
line ;  this  work  occupied  him,  with  various  inter- 
ruptions, from  1502  till  1507.  The  last  known 
work  by  this  master  is  the  '  Christ  bearing  the 
Cross,'  in  the  Casa  Borromeo,  at  Milan,  painted  in 


THOMAS  BEWICK 


THE  CHILLINGHAM  BULL 
1789 


BERNARDINO  DI  BIAGIO 


PINTURICCHIO 


i  photo]  \J.ibrary,  Siena 

^NEAS  PICCOLOMINI  ON  HIS  WAY  TO 
THE  COUNCIL  AT  BASEL 


PAINTERS  AND  ENGRAVERS. 


1513 ;  in  which  year  Pinturicchio  died  at  Siena 
of  starvation  and  neglect,  deserted,  it  is  said,  in 
his  illness  by  his  heartless  wife  Grania.  Pinturic- 
chio was  a  very  prolific  artist,  and  left  many  works, 
all  executed  in  the  old-fashioned  tempera,  for  he 
never  mastered  the  art  of  oil  painting.  He  was 
fond  of  landscape  backgrounds,  but  they  are  over- 
crowded, and  his  paintings  are  loaded  with  too 
much  gilding  and  architectural  ornamentation  to 
be  in  good  taste ;  with  all  these  faults,  he  was  one 
of  the  best  masters  of  the  Umbrian  school. 

To  the  above-mentioned  works  may  be  added 
the  following :  , 


Assisi.  S.  Mary  Angeli. 
Berlin.  Museuvi. 


Dresden.  Gallery. 

LoDilou.       Nat.  Gall. 


Paris.  Louvre. 

Feragia.  Aocademia. 

Rome.  Vatican. 

Siena.  Academy. 


God  the  Father. 

St.  Augu.stine,  St.  Benedict,  and 

St.  Bernard  (formerly  ascribed 

to  Peruijino). 
A  Reliquary. 
Portrait  of  a  Boy. 
Sb.  Catharine  of  Alexandria. 
The  Madonna  and  Child. 
The  return  of  Ulysses  to  Penelope. 

{A  fresco  transferred  to  canvas  ; 

formerly  in  the  Fctrucci  Palace.^ 

Siena,  painted  about  1509.) 
Madonna  and  Child  between  St. 

Gregory  and  another  Saint. 
The   Virgin  between  SS.  Jerome 

and  Augustin  {painted  in  1498 

for  the  convent  of  Santa  Anna, 

Perugia). 
Coronation  of  the  Virgin  {painted 

about  1500). 
Virgin     enthroned     with    Saints 

{painted  about  1501). 


There  are  two  important  frescoes  by  him  in 
the  Sistine  Chapel,  at  one  time  attributed  to 
Perugino,  fragments  of  fresco  in  the  Penitenzieri 
Chapel,  decoration  in  the  Colonna  Palace,  a 
fresco  in  the  Capitol,  and  fragments  of  work  in 
the  Castle  of  Sant'  Angelo,  all  in  Rome. 

(See  '  Pinturicchio,'  by  E.  M.  Phillipps,  London, 
1901.) 

BIAGIO,  Maetino  (di  Bartolommeo)  di,  was  the 
son  of  Bartolommeo  di  Biagio,  a  goldsmith  of  Siena, 
and  a  contemporary  of  Taddeo  Bartoli.  His  name 
appears  in  the  roll  of  the  Guild  of  the  Sienese 
painters,  in  1389,  but  his  first  known  work  is  in  a 
church  at  Cascina,  which  is  now  desecrated.  There 
will  be  found  a  series  of  frescoes  representing  the 
'Virgin  and  Child,'  between  SS.  Catharine  and 
Agatha,  life-sized  figures  of  the  Saints,  colossal 
figures  of  the  Virtues,  and  scenes  drawn  from  the 
life  of  the  Virgin,  with  a  '  Crucifixion,'  that  is  dated 
1396.  He  seems  to  have  remained  in  Pisa  up  to 
1404,  having  painted  in  1403  a  '  Virgin  and  Cliild, 
between  Saints,'  that  is  now  in  the  Hosjiital  of 
Santa  Chiara,  in  that  city.  In  1405  and  1406 
Martino  decorated  the  three  chapels  of  San  Cres- 
cenzio,  San  Savino,  and  San  Niccol6,  in  the  Duomo 
of  Siena.  In  1407  he  aided  Spinello  to  decorate 
the  Sala  di  Balia,  Siena,  where  his  part  was  the 
ornamentation  of  the  ceiling  with  allegorical  half- 
figures  of  the  Virtues.  He  was  appointed  umpire 
in  the  valuation  of  Taddeo  Bartoli's  paintings  in 
the  Chapel  of  the  Palace  of  Siena,  and  seems  to 
have  filled  several  offices  in  the  government  of  the 
city  between  the  years  1410  and  1428.  His  death 
probably  occurred  in  1433. 

Asciano.  Boniche  Coll      Madonna  and  Child.     Signed  in 

1408. 
Pisa.        Academy.  Marriage  of  St.  Catharine.    1403. 

Siena       Academy.  Madonna  with  Saints  (three). 


BIAGIO  ViNCENZO  DI,  commonly  called  Catena, 
possibly  from  a  partiality  for  jewellery,  was  born 
probably  at  Treviso,  and  flourished  towards  the 
close  of  the  15th  and  the  beginning  of  the  16th 
century.  He  was  a  painter  of  no  great  origin- 
ality ;  he  studied  at  Venice  under  Bellini,  whose 
influence  is  perceptible  in  his  works  ;  and  he  was 
also  an  imitator  of  Giorgione.  Catena  painted 
portraits  with  skill,  and  was  also  much  esteemed 
for  his  easel  pictures  of  historical  subjects  ;  he 
was  employed  in  decorating  the  churches  of 
Venice,  some  of  which  still  contain  works  by  his 
hand.  His  will,  dated  1531,  proves  him  to  have 
been  alive  in  that  year,  but  we  have  no  later 
record  of  him.  The  following  are  a  few  of  his 
works: 

Berlin.       Museum.      Madonna  and  Saints  and  donor. 
,.  „  Portrait  of  Count  Eaimund  Fugger 

{one  of  his  best  works) . 
Dresden.    Gallery.       Madonna  with  Saints. 
Liverpool.  Institution.  Madonna  and  donator  {ascribed  to 

him  by  Crowe  and  Cavalcaselle). 
London.     Nat.  Gall.  Warrior  adoring  the  Infant  Christ. 

„  „  St.  Jerome  in  his  study. 

Padua.         Com.  Gal.  Presentation  in  the  Temple. 
Paris,  Louvre.  Keception  of  Ambassadors. 

Petersbrg.  Hermitage.  Virgin  and   Child  with  SS.  Peter 

and  John  the  Baptist. 
Venice.      Ihtcal  Pal.  Madonna  and  Saints. 
„  S.  Simeone.  The  Holy  Trinity. 

BIANCHI,  Baldassare,  was  born  at  Bologna  in 
1614.  He  was  first  a  scholar  of  Giovanni  Paderna, 
but  afterwards  studied  under  Agostino  Mitelli,  with 
whom  he  painted  prospective  pieces  at  Sassuolo. 
He  passed  the  greater  part  of  his  life  in  the  em- 
ployment of  the  dukes  of  Modena  and  Mantua, 
whose  palaces  he  orflamented  with  a  large  number 
of  his  paintings.  He  also  decorated  the  theatres  of 
Modena  and  Mantua.  He  died  at  Modena  in  1679. 
Orlandi  states,  that  he  had  a  daughter,  LocBEZiA 
Bianchi,  who  also  distinguished  herself  in  the  art. 

BIANCHI,  Federigo,  a  Milanese,  was  a  scholar, 
and  subsequently  son-in-law,  of  Giulio  Cesare 
Procaccini.  Orlandi  reports  that  at  the  early 
age  of  seventeen  he  painted  three  works  in  fresco, 
in  the  cloister  of  the  monastery  of  the  Padri 
Zoccolanti,  at  Milan.  Several  other  works  by 
this  master  were  in  the  churches  of  that  city.  He 
was  greatly  patronized  by  the  duke  of  Savoy,  who 
held  his  talents  in  high  estimation,  arid  honoured 
him  with  the  title  of  '  Cavaliere,'  and  a  gold  chain 
and  medal.     He  flourished  in  the  17th  century. 

BIANCHI,  Francesco,  (or  Francesco  del  Bi- 
ANCHO  Ferraro,)  Called  II  Fear^,  was  born,  ac- 
cording to  Vidriani,  at  Ferrara  in  1447.  Modena 
is  also  mentioned  as  the  place  of  his  birth.  His 
works  were  much  esteemed  in  his  time,  and  are 
said  by  Vidriani  to  have  been  gracefully  designed, 
and  painted  with  a  fine  impasto  of  colour.  He 
also  gives  him  the  credit  of  having  been  the 
instructor  of  Correggio.  He  died  in  1510.  His 
works  are  now  rarely  seen.  The  Louvre  possesses 
a  '  Virgin  and  Child  enthroned  with  two  Saints,' 
and  the  Modena  Gallery  an  'Annunciation  of  the 
Virgin,'  and  other  works. 

BIANCHI,  Giov.  Paolo.    See  Blancus. 

BIANCHI,  IsiDORO,  called  'da  Campione,'  was 
a  native  of  Milan,  and  flourished  about  the  year 
1626.  He  studied  under  Pietro  Francesco  Mazzu- 
chelli,  and  was  one  of  the  ablest  followers  of  his 
style.  He  excelled  in  fresco  painting  more  than  in 
oil,  as  is  evident  in  his  works  in  the  church  of  Sant' 
Ambrogio  at  Milan,  and  in  different  churches  at 

131 


A  BIOGRAPHICAL  DICTIONARY  uF 


Como.  He  was  chosen  by  the  Duke  of  Savoy  to 
finish  a  grand  saloon  at  Rivoli,  which  had  been 
commenced  by  Mazzuchelli,  and  was  left  unfinished 
at  his  death.  He  was  afterwards  made  painter  to 
the  Court,  and  was  knighted  in  1631. 

BIANCHI,  Okazio,  was  born  at  Rome,  and, 
according  to  Abate  Titi,  was  a  painter  of  history 
of  fair  merit.  His  best  work  was  the  '  Marriage 
of  St.  Joseph  and  the  Virgin  Mary,'  in  the  church 
of  San  GiosefEo  at  Rome. 

BIANCHI,  Paolo,  an  artist  chiefly  employed  in 
engraving  portraits  for  the  booksellers,  flourished 
about  the  year  1670.  His  plates  are  neatly  exe- 
cuted with  the  graver,  but  in  a  stiff,  tasteless  style. 
He  engraved  some  of  the  portraits  for  Priorato's 
'  History  of  Leopold,'  among  which  are  : 

Cardinal  Flavio  Chigi,  nephew  of  Alexander  VII.,  and 
Luigi  de  Benevides  CarilUo. 

BIANCHI,  PlETRO.  This  painter  was  born  at 
Rome  in  1694,  and  was  a  scholar  of  Benedetto  Luti 
and  Baciccio.  He  acquired  considerable  celebrity 
as  a  painter  of  history,  portraits,  landscapes,  and 
animals.  Among  his  most  esteemed  performances 
are  a  '  St.  Clara,'  at  Gubbio,  and  a  picture  of  the 
'Conception,'  in  the  church  of  Santa  Maria  degli 
Angeli,  at  Rome,  of  which  a  mosaic  copy  is  in  a 
chapel  of  St.  Peter's.     He  died  in  1740. 

BIANCHI,  Sebastiano,  an  Italian  engraver, 
flourished  about  the  year  1580.  He  produced 
some  plates  of  devotional  subjects,  which  are  exe- 
cuted with  the  graver  in  a  very  indifferent  style. 
Among  others  is  a  print  representing  the  '  Emblems 
of  our  Saviour's  Sufferings,  with  Angels,'  &c. 

BIANCO,  Bartolommeo,  distinguished  himself 
as  an  architect,  engineer,  and  painter.  He  was 
bom  at  Florence  in  1604,  and  in  1612  he  studied 
painting  under  Biliverti.  In  1620  he  visited  Ger- 
many ;  on  his  return  he  decorated  several  houses, 
and  painted  for  churches  and  theatres.  In  1656 
he  went  to  Spain  to  paint  scenes  for  theatres.  He 
died  at  Madrid  in  tlie  same  year. 

BIANCUCCI,  Paolo,  was  born  at  Lucca  in 
1583,  and  was,  according  to  Lanzi,  a  distinguished 
scholar  of  Guido,  whose  graceful  and  delicate  style 
he  followed.  His  works  bear  a  near  resemblance 
to  those  of  Sassoferrato.  Of  his  best  pictures  may 
be  noticed,  a  representation  of  '  Purgatory,'  which 
he  painted  for  the  church  of  the  Suffragio,  and  an 
altar-piece  of  several  Saints  for  San  Francesco. 
He  died  in  1653. 

BIARD,  Pierre,  bom  in  Paris  about  1559,  was  a 
sculptor,  architect,  painter,  and  etcher.  He  studied 
at  Rome,  and  died  in  Paris  in  1609.  He  etched 
amongst  others  a  spirited  plate  with  two  eagles 
and  foliage. 

BIARD,  Pierre,  'the  younger,'  born  in  Paris 
between  the  years  1592  and  1594,  was  an  architect, 
sculptor,  painter,  and  engraver.  He  was  the  son 
of  Pierre  Biard,  who  is  best  known  as  a  sculptor. 
He  studied  in  Italy,  and  executed  as  an  engraver 
74  etclungs,  representing  allegorical  and  mytho- 
logical subjects,  after  Raphael,  Michelangelo,  and 
Giulio  Romano.  Though  his  design  is  deficient, 
he  worked  with  a  fine  point.  He  died  in  Paris 
in  1661. 

BIBIENA.     See  Galli. 

BICCI,  Family  op  the. 

Lorenzo  di   Bicoi  is  the  eldest  member  of  a 

family  of  painters  at  Florence,  about  whom  Vasari 

is  somewhat  confused.     To  Lorenzo  di  Bicci  he 

attributes   many  works   which  have    since   been 

132 


proved  to  be  by  the  hand  of  his  son,  Bicoi  di 
Lorenzo.  Of  Lorenzo  di  Bicci  all  we  know  is 
that  he  was  a  painter ;  and  though  his  name 
occurs  as  such  in  records  at  intervals  from  1370 
to  1398,  no  authentic  work  by  him  is  in  existence. 

Bicci  di  Lorenzo,  painter  and  sculptor,  the  son 
of  Lorenzo  di  Bicci,  was  born  in  1373.  He  mar- 
ried in  1418,  and  in  1424  was  registered  in  the 
Guild  of  Painters  at  Florence.  He  was  constantly 
employed  in  decorating  churches  in  that  city  and 
the  neighbourhood,  and  we  find  his  name  recorded 
at  frequent  intervals  from  1420  to  1452,  in  which 
year  he  died  at  Florence,  and  was  buried  in  the 
Carmine.  Vasari,  who  confuses  the  Bicci,  ascribes 
to  Lorenzo  di  Bicci  those  works  which  are  now 
given  on  good  authority  to  the  son,  Bicci  di 
Lorenzo.  Amongst  Bicci's  works  may  be  men- 
tioned '  SS.  Cosmo  and  Damian,'  in  the  DfBzi,  and 
frescoes  representing  the  '  Dedication  of  the 
Church  by  Pope  Martin  V.,'  in  Santa  Maria  Nuova 
(now  Sant'  Egidio),  in  which  church  he  also  exe- 
cuted some  figures  in  terra  cotta. 

Neri  di  Bicci,  the  son  of  Bicci  di  Lorenzo 
(and  not,  as  Vasari  says,  of  Lorenzo  di  Bicci),  was 
a  Florentine  painter  of  no  great  merit,  who 
flourished  in  the  15th  century.  He  was  a  most 
indefatigable  worker,  and  his  pictures  are  seen  in 
the  galleries  and  churches  of  Florence.  His 
masterpiece  is  '  St.  Giovanni  Gualberto  enthroned, 
with  ten  Saints,'  in  the  old  church  of  San  Pan- 
crazio.  (For  further  information  concerning  the 
Bicci,  see  Crowe  and  Cavalcaselle's  'History  of 
Painting  in  North  Italy.') 

BICHARD,  — ,  a  French  engraver,  who  flourished 
about  the  year  1760,  engraved  some  plates  repre- 
senting tombs  and  buildings,  from  the  desigris  of 
G.  M.  Dumont 

BICKART,  JoDOCus,  flourished  at  Mentz  about 
1650—1672.  He  was  a  painter,  and  one  of  the 
earliest  engravers  in  mezzotinto ;  but  his  works 
are  very  rare.     The  following  are  the  best  known: 

A  portrait  of  an  old  Man. 

A  portrait  of  John  Philip,  Elector  of  Mentz. 

A  portrait  of  an  old  Man  reading. 

BICKER.     See  Miel. 

BICKHAM,  George,  an  English  engraver,  was 
chiefly  employed  in  engraving  plates  of  writing, 
in  which  he  excelled.  He  died  in  1769.  We  have 
a  few  portraits  and  copies  of  paintings  by  him, 
but  indifferently  executed — among  others  the  fol- 
lowing : 

George  Shelly,  a  writing-master  ;  after  his  own  design, 

1709. 
John  Clarke,  also  a  writing-master. 
Robert  More,  another  writing-master. 
Sir  Isaac  Newton,  with  emblematical   ornaments;   G, 

Bickham,  senior,  sail.   1752.    Sold  by  John  Bickham, 

engraver. 
Peace  and  War  ;  after  Kuhens. 
The  Gold  and  Silver  Age ;  after  Rubens. 

BICKHAM,  George,  '  the  younger,'  the  son  of 
the  engraver  of  the  same  name,  was  not  more 
distinguished  in  art  than  his  father.  He  engraved 
many  of  the  humorous  plates  published  by  Miss 
Bowles,  as  well  as  the  portraits  of  his  father  and 
himself  in  a  kind  of  frieze,  representing  a  view 
of  '  Newmarket  Race-course.'     He  died  in  1849. 

BIDAULD,  Jean  Joseph  Xavier,  a  French  land- 
scape painter,  was  born  at  Carpentras  in  1758.  He 
was  educated  by  his  brother,  Jean  Pierre  Xavieu 
BiDAULD,  a  painter  of  landscapes  and  natural  bis- 


FRANCESCO  BIANCHI 


Neurdein  photu\ 


[Lui^vre,  Paris 


THE  MADONNA  WITH  ST.   BENEDICT 
AND  ST.  QUENTIN 


PAINTERS  AND  ENGRAVERS. 


tory,  who  was  born  at  Carpentraa  in  1745,  and 
died  at  Lyons  in  1813.  He  obtained  a  medal 
at  the  Salon  of  1812,  and  was  named  member  of 
the  Institute  in  the  room  of  Piud'hon,  1823.  He 
executed  a  great  number  of  views  of  Italy,  and 
exhibited  during  the  years  from  1791  to  1844. 
Three  landscapes  by  him  are  in  the  Louvre.  One 
is  a  view  of  Subiaoo,  another  represents  Avezano 
—both  painted  in  1789 ;  the  third  bears  date  1793. 
He  died  at  Montmorency  in  1846. 

BIDERMANN,  Johann  Jacob,  bom  at  Winter- 
thur,  Switzerland,  in  1762,  was  instructed  by  A. 
Graff,  at  Dresden.  He  travelled  considerably,  and 
eventually  settled  at  Constance  in  1804,  and  painted 
both  in  water-colour  and  oil,  mostly  small  land- 
scapes, with  figures  and  cattle,  and  often  views  in 
Switzerland,  as  well  as  portraits  and  conversation- 
pieces.  He  etched  eleven  plates  of  Eglisau  on 
the  Rhine,  in  a  most  beautiful  manner.  He  died 
at  Constance  in  1828. 

BIE,  De.     See  De  Bie. 

BIELBY,  W.,  topographical  draughtsman,  flour- 
ished towards  the  end  of  the  18th  century,  and 
painted  some  of  the  views  engraved  in  Angus' 
'  Seats  of  the  Nobility  and  Gentry,'  published  1787. 
Some  views  of  Chelsea  and  Battersea  by  him  were 
engraved  in  aquatint  by  Jukes. 

BIERSTADT,  Albert,  a  landscape  painter, 
was  born  at  Solingen  near  Dusseldorf  in  1830,  of 
American  parents,  and  taken  back  by  them  to 
America  when  twelve  months  old.  In  1843  he 
came  over  to  Dusseldorf  to  study  art,  and  remained 
in  Germany  for  three  years.  After  that  time  he 
returned  again  to  the  States,  and  accompanied 
the  expedition  sent  to  explore  the  South  Pass  of 
the  Rocky  Mountains,  and  during  this  expedition 
he  made  a  great  many  sketches  and  completed 
some  fine  pictures  of  the  scenery.  He  became  a 
member  of  the  National  Academy,  had  one  of  his 
chief  works  placed  in  the  Capitol  at  Washington, 
and  was  also  granted  the  Legion  of  Honour  for  the 
pictures  which  he  exhibited  in  the  Salon.  He 
confined  his  attention  almost  entirely  to  landscape 
work,  and  usually  only  represented  scenes  in  the 
United  States.  He  died  at  the  age  of  seventy-two, 
in  1902. 

BIEVRE,  —  DE,  an  engraver  who  flourished 
about  1766,  produced  a  few  portraits,  among  which 
is  that  of  Caroline  Matilda,  Queen  of  Denmark. 

BIEZELINGEN,  Cheistiaan  Jans  van,  a  Dutch 
portrait  painter,  was  born  at  Delft  in  1558.  This 
artist  painted  from  memory  a  portrait  of  William 
I.,  Prince  of  Orange,  after  his  assassination  by 
Gerards,  as  well  as  a  portrait  of  the  latter  while 
in  prison.  He  spent  several  years  at  the  Spanish 
Court,  where  he  was  well  employed.  He  died  at 
Middelburg  in  1600. 

BIFFI,  Carlo,  a  Milanese  historical  painter  and 
etcher,  born  in  1605,  was  a  pupil  of  C.  Procaccini. 
He  died  in  1675. 

BIFFIN,  Sarah,  was  born  at  Bast  Quantoxhead, 
near  Bridgewater,  Somerset,  in  1784,  without  hands 
or  feet.  She  was  first  instructed  by  an  artist  of  the 
name  of  Duke,  with  whom  she  resided  the  greater 
part  of  her  life.  After  some  time  the  Earl  of  Morton 
made  her  acquaintance,  and  was  so  much  interested 
in  her,  that  he  had  her  instructed  by  W.  M.  Craig, 
one  of  the  best  miniature  painters  of  the  day,  under 
whose  instruction  she  improved  so  rapidly  that  in 
the  year  1821  she  received  a  medal  from  the 
Society  of  Arts.  She  was  patronized  by  George 
III.,   George   IV.,  William   IV.,  Queen   Victoria, 


and  several  other  distinguished  personages.  In 
her  old  age  she  was  rather  reduced  in  circum- 
stances, but  a  small  annuity  was  purchased  for 
her,  on  which  she  was  able  to  live  comfortably  till 
her  death,  which  took  place  at  Liverpool  in  1850. 

BIGARI,  VllTGRlo,  was  born  in  1692,  at  Bologna, 
and  his  works  are  to  be  met  with  in  almost  every 
public  edifice  in  that  city.  In  the  church  of  the 
Madonna  del  Soccorso  is  an  admired  picture  by 
him  of  the  '  Virgin  Mary  and  Infant  Jesus,  with  St- 
Petronio  and  other  Saints.'  In  the  Palazzo  Aldro- 
vandi  he  painted  a  gallery,  in  which  he  represented 
the  principal  transactions  of  that  noble  family. 
His  works  are  mentioned  in  favourable  terms  by 
Zanotti  in  the  '  Pitture  di  Bologna.'  He  died  in 
1776.  His  sons,  Giacomo  and  Anqelo,  were  also 
painters. 

BIGG,  William  Redmore,  who  was  born  in  1755, 
was  admitted  a  student  of  the  Royal  Academy  in 
1778,  became  an  associate  in  1787,  and  an  Acade- 
mician in  1814.  His  pictures  were  generally  of 
simple  subjects,  appealing  to  the  domestic  sym- 
pathies ;  they  were  painted  with  considerable 
power.  His  '  Shipwrecked  Sailor  Boy,'  '  Boys 
relieving  a  Blind  Man,' '  Black  Monday,'  and  others 
of  like  character,  have  been  engraved.  He  died 
in  London  in  1828. 

BIGI,  Francesco  (di  Cristopano),  commonly 
known  as  Franoiabiqio  or  Franoia  Bigio,  was 
born  at  Florence  in  1482.  He  studied  first  at  the 
Branoacci  Chapel,  but  in  1505  he  became  acquainted 
with  Andrea  del  Sarto,  and  studied  for  some  time 
with  Albertinelli.  He  seems  to  have  devoted 
much  of  his  time  to  portrait  painting,  many  ex- 
amples of  which  can  be  seen  in  England,  and  on 
the  continent.  Frescoes  by  him,  although  now 
much  injured  by  damp  and  the  effects  of  time,  are 
at  San  Giovanni  Battista  della  Calza,  and  at  Santa 
Maria  de'  Candeli,  at  Florence.  In  the  court  of 
the  convent  of  the  Servi  there  is  a  '  Marriage  of 
the  Virgin  and  St.  Joseph,'  of  which  the  following 
story  is  told :  The  fresco  was  all  but  finished,  and 
the  screens  were  still  around  it,  when  a  solemn 
feast  day  of  the  Order  arrived,  and  some  of  the 
monks  undertook  to  uncover  it  on  their  own  re- 
sponsibility. This  so  enraged  Bigi,  that  he  seized 
a  mason's  hammer  and  struck  out  the  heads  of 
the  Virgin  and  of  some  of  the  other  figures ; 
nor  could  threats  or  entreaties  prevail  on  either 
Bigi  or  any  of  his  fellow-artists  to  replace  them ; 
and  thus  mutilated  it  still  remains.  Bigi 
died  at  Florence  in  1526. 

The  following  list  contains  a  few  of  his 
most  celebrated  works: 

Kerliu.       Museum.    Portrait  of  a  man  (former/!/  asci-ided 
to  ISebastiano  del  Piombo). 
„  „  Portrait  of  a  young  man  {with  moyto- 

gram,  mid  inscriied  "  1622  a  di  24 
dottobe"). 
„  „  Portrait  of  a  young  man. 

Dresden.  Gallery.      Batbsheba  bathing  (with  monogram, 

and  dated  an>xin). 

Florence.  Pitti  Pal.    Portrait  of  a  youth  (with  monogram, 

and  dated  MDXiniJ. 

„  „  Calumny  of  Apelles. 

„  VJizi.         Madonna  del  Pozzo. 

„  „  Temple  of  Hercules. 

Also  important  frescoes  in  the 
Chiostro  Scalzo,  SS.  Annunziata 
and  La  Calza. 
London,  ^at.  Gat.  Portrait  of  a  young  man  (.?i//we(f  wzVA 
the  accompanying  monogram^  and 
inscribed  tab  :  vblia  :  CHI :  blen  : 
eima). 

133 


A  BIOGRAPHICAL  DICTIONARY  OP 


London.  Tarborough  C.  Half-length  of  a  man  at  a 
window  {dated  mdxvi). 

Tnrin.  Gallery.  Annunciation. 

Windsor.  Castle.  Portrait  of  the  Factor  of  Pier 

Francesco  de'  Medici. 

BIGNON,  Franqois,  a  French  engraver,  who 
■was  born  in  Paris  about  the  year  1620.  He  was 
principally  employed  on  portraits,  which  he  gener- 
ally executed  with  the  graver,  though  he  occa- 
sionally called  in  the  assistance  of  the  point.  His 
style  is  neat,  but  there  is  a  want  of  harmony  in 
the  efEect  of  his  prints.  Some  of  his  portraits  are 
ornamented  with  borders,  with  small  emblematical 
figures,  &c.     We  have  by  liim  . 

St.  Margaret ;  after  N.  Poiissin. 

Thirty -three  Portraits  of  the  Plenipotentiaries  as- 
sembled at  the  Peace  of  Miiuster ;  after  Z.  Heince. 
Published  in  164S. 

Twenty-seven  Portraits  of  illustrious  Frenchmen ;  after 
the  pictures  by  Z.  Heince  in  the  gallery  of  Cardinal 
Eichelieu.    Published  in  1650. 

BIGORDI  Family,  The. 

TOMMASO  BIGORDI. 


Florence 
Paris. 


S.  Maria 

A. 
Louvre. 


Domenico  di  Tommaso    Davide  di  Tommaso    Benedetto  dl  Tommaso 
("449— 1494).  (1462— 1626).  (1468-  1497). 

Rldolfo  di  Domenico 
(1483—1561). 

Michele  di  Ridolfo 
(fl.  ab.  16(18:. 

BIGORDI,  Benedetto  (di  Tommaso),  called  also 
Benedetto  del  Ghielandaio,  was  a  brother  and 
pupil  of  Domenico,  and  was  born  at  Florence  in 
1458.  He  frequently  assisted  his  brother  in  his 
■works,  and  completed  some  which  he  left  un- 
finished at  his  death.  Benedetto  was  also  known 
as  a  miniature  painter.  He  died  at  Florence  in 
1497.     The  following  are  his  principal  works: 

Berlin.  Museum.  Resurrection  of  Christ  (executed  in 
eo»juiictwn  with  Davids,  after  the 
design  of  Domenico  Bigordi)^  pari 
of  an  altar-piece  painted  for  Santa 
Maria  Kovella,  Florence. 

►  St.  Lucia. 

Christ  beai-ing  the  Cross. 

BIGORDI,  Davide  (di  Tommaso),  or  Davide  del 
Ghirlandaio,  who  was  born  at  Florence  in  1452, 
was  chiefly  employed  in  assisting  his  brother 
Domenico  ;  and,  with  Benedetto,  completed  some 
of  his  unfinished  works.  Davide  also  practised  as 
a  mosaicist  at  Orvieto,  Siena,  and  at  Florence, 
where  he  died  in  1525. 

BIGORDI,  Domenico,  whose  full  name  seems 
to  have  been  Domenico  di  Tommaso  Curradi  di 
DofEo  Bigordi,  is  generally  called  Ghirlandaio  (or 
in  the  Florentine  dialect  Grillandaio,  in  which 
manner  he  sometimes  signed  his  works),  or  '  The 
Garlandmaker,'  an  epithet  probably  derived  from 
his  father's  profession.  He  was  the  son  of  a  gold- 
smith and  broker  in  Florence,  and  was  born  there 
in  1449.  In  his  early  years  he  probablj'  followed  his 
father's  business,  but  afterwards  entered  the  studio 
of  Alessio  Baldovinetti,  and  became  one  of  the 
most  distinguished  artists  of  his  time — both  as  a 
mosaicist  and  a  painter.  His  design  was  more 
correct  and  graceful  than  was  usual  in  his  time, 
and  the  expression  of  his  heads  is  superior  to  that 
of  any  painter  who  had  preceded  him.  His  earliest 
remaining  frescoes  are  those  in  the  Church  and 
Refectory  of  Ognissanti,  which  are  dated  1480,  and 
represent  St.  Jerome,  and  the  '  Last  Supper.'  Soon 
afterwards  he  commenced  his  labours  at  the 
Palazzo  Vecchio,  Florence,  in  1481.  where  a  fresco 
134 


of  the  '  Glory  of  St.  Zanobius '  and  other  subjects 
still  remain.  He  was  called  to  Rome  by  Sixtus  IV. 
in  1483,  to  aid  in  the  decoration  of  the  Sistine 
Chapel,  where  he  painted  '  The  Call  of  SS.  Peter 
and  Andrew,'  which  still  remains  ;  and  '  The  Resur- 
rection,' which  has  perished.  Previous  to  1485  he 
decorated  the  Cappella  San  Fina  in  the  Duomo  of 
Gimignano  -with  frescoes,  representing  different 
events  in  the  life  of  that  saint,  ■which  are  remark- 
able for  their  beauty  and  grandeur  of  treatment. 
In  the  year  1485  he  completed  the  decorations  of 
the  Sassetti  Chapel  in  the  church  of  Santa  Trinita, 
Florence:  these  consist  of  portraits  of  Francesco 
Sassetti  and  his  wife  Nera;  a  series  of  classical 
subjects,  and  six  subjects  from  the  life  of  St.  Francis 
of  Assisi.  The  altar-piece  he  finished  for  this  chapel 
with  the  '  Adoration  of  the  Shepherds,'  is  now  in 
the  Academy  of  Arts,  Florence.  His  next,  and  his 
most  important  commission,  was  that  given  him  by 
Giovanni  Tornabuoni  to  adorn  the  choir  of  Santa 
Maria  Novella.  These  frescoes,  which  are  Bigordi's 
master-pieces,  consist  of  four  courses  of  designs  on 
the  three  walls  of  the  choir,  and  represent — '  St 
Francis  before  the  Soldan,'  and  '  The  Death  of  St. 
Peter,  Martyr; '  eight  subjects  drawn  from  the  life 
of  St.  John  the  Baptist;  and  thirteen  taken  from  the 
life  of  the  Virgin.  In  these  beautiful  and  wonder- 
ful designs  ■will  be  found  twenty-one  portraits  of 
members  of  the  Sassetti  and  Medici  families,  his 
own  portrait  and  those  of  his  assistant  Sebastianu 
Mainardi,  and  of  Baldo^vinetti.  After  the  comple- 
tion of  the  above  immense  work,  Domenico  painted 
by  order  of  Lorenzo  de'  Medici,  the  '  Christ  in  Glory, 
adored  by  SS.  Romualdo,  Benedict,  Attinia,  and 
Greciniana,'  for  the  Badia  of  Volterra,  where  it 
still  remains.  In  1488  he  finished  the  '  Adoration 
of  the  Magi,'  for  the  church  of  the  Innocenti, 
Florence,  in  which  picture  is  his  own  portrait.  The 
latest  known  picture  by  Ghirlandaio  is  the  '  Visit- 
ation of  the  Virgin,'  dated  1491,  and  now  in  the 
Louvre.  He  died  at  Florence  in  1494.  He  was  the 
founder  of  an  eminent  school,  and  will  ever  be 
remembered  as  the  instructor  of  Michelangelo. 
The  following  are  some  of  his  best  works : 


Florence..i4(;arfej«y. 

»'  »» 

„  Innocenti. 

„         Ognissanti. 

"  Uffizi. 

Lucca.     S.Martiuo. 
Mumch.  Pinakothek. 


Narni. 
Paris. 


Louvre. 


Pisa.         Gallery. 
„  St.  Anna. 

Rimini.    Gallery, 
S.  Gimignano.  Church. 
Volterra.  S.Francesco. 


Adoration  of  the  Shepherds.    1485. 

Madonna  with  four  Saints. 

Adoration  of  the  Kings.     1488. 

The  Last  Supper  (fresco). 

St.  Jerome  (fresco).     1480. 

Adoration  of  the  Magi.     1487. 

Madonna  and  Saints. 

Madonna  and  Saints. 

(i)  Madonna  and  Child  with  the  two 
St.  Johns,  St.  Doraiuick,  and  St. 
Michael,  (ii)  St.  Catharine  of  Siena, 
(iii)  St.  Lawrence  ( part  of  an  altar- 
piece  executed  from  designs  by 
Domenico  for  Santa  Maria  j^ovetUi, 
Florence :  the  exterior  wings, 
finished  by  Davide  and  Benedetto 
Bigordi  and  Francesco  Granaeei, 
after  Donienico's  death,  are  in  the 
Berlin  Museum). 

Coronation. 

Visitation,  MCCCCLXXXXI. 

Old  Man  and  a  Boy. 

SS.  Sebastian  and  Roch. 

Madonna  and  Saints. 

Three  Saints. 

Annunciation  (fresco). 

Christ  adored  by  Saints. 


BIGORDI,  Michele  (di  Ridolfo),  who  painted 
at  Florence  about  1568,  died  at  the  age  of  75.  A 
'  Holy  Family '  by  him  is  in  the  Pitti  Palace. 


DOMENICO  BIGORDI 


GHIRLANDAIO 


■  lliiuiri photo]  r^,        ,     J- ^,     ^      . 

VChjirch  oftlie  Ognissanti.  Florence 

ST.  JEROME  IN   HIS  STUDY 


DOMENICO    BIGORDI 

CALLED 

GHIRLANDAIO 


AUnari  photo] 


[Hospital  0/ l/ie  Innncenti,  Florence 
THE  ADORATION  OF  THE  MAGI 


PAINTERS  AND  ENGRAVERS. 


BIGORDI,  RiDOLFO  (di  Domenico) — called  Ghir- 
LANDAIO— who  was  born  at  Florence  in  1483,  lost 
his  father  Domenico  when  he  was  still  a  child, 
and  was  taken  under  the  protection  of  his  uncle 
Davide.  He  afterwards  studied  under  Cosimo  Ros- 
selli  and  Fra  Bartolommeo,  and  had  so  far  profited 
by  the  instruction  of  these  masters,  that  when 
Raphael  visited  Florence,  he  was  so  satisfied  of  his 
ability,  that  he  entrusted  him  to  finish  a  picture  of 
the  '  Virgin  and  Infant '  he  had  commenced,  for 
one  of  the  churches  at  Siena.  So  highly  did  Ra- 
phael esteem  Ridolf  o's  talents,  that  on  his  return  to 
Rome  he  invited  him  to  assist  him  in  his  great 
works  in  the  Vatican.  Unfortunately  for  his  fame, 
Ridolfo  refused  the  invitation  of  Raphael,  for,  if 
he  had  accepted  it,  he  would  probably  have  par- 
ticipated in  the  glory  of  that  illustrious  painter  in 
an  equal  degree  with  Giulio  Romano.  He  possessed 
an  acute  and  vivacious  imagination,  with  an  elegance 
and  'aste  in  his  forms  that  have  a  near  afiinity  to  the 
style  of  that  master.  In  some  of  his  first  produc- 
tions, in  San  Jacopo  at  Ripoli,  and  in  SanGirolamo 
at  Florence, though  there  is  something  of  the  dryness 
of  Pietro  Perugino,  they  bear  a  great  resemblance 
to  the  juvenile  works  of  Raphael.  He  approaches 
nearer  to  the  better  time  of  that  master  in  his  two 
pictures  of  subjects  from  the  Life  of  St.  Zanobio, 
originally  painted  for  the  Academy  at  Florence,  but 
afterwards  placed  in  the  Ducal  Gallery.  He  died 
at  Florence  in  1561.  The  print  of  the  '  Procession 
to  Calvary'  (plate  125  of  Rosini)  will  give  an  idea 
of  his  style  of  composition  and  delineation  of  char- 
acter; but  it  does  not  bear  much  of  the  impress  of 
Fra  Bartolommeo  or  Giulio  Romano.  The  follow- 
ing are  some  of  his  most  important  pictures : 

Berlin.      Museum.    Adoration  of  the  lufaut  Christ. 
BudaPesth.  GaWery.  Nativity. 
Florence.  JP.  Vecchio.  Holy  Trinity. 

„  „  Annunciation.     1514. 

„         Academy.    Panels  with  three  Saints  each. 

„         Vffizi.  St.  Zanobio  restoring  a  child  to  life. 

„         Fitti.  Two  Portraits. 

London.  Aat.  Gall.    Procession  to  Calvary. 
Pistoja.iS'.PiViro.iT/a^.Virgin  adored  by  Saints, 
Reigate.  Priory.        Portrait  of  an  old  man. 

BIJE,  Dh.     See  De  Bije. 

BIJLAERT,  Jan  Jacob,  a  Dutch  painter,  was 
born  at  Rotterdam  in  1734.  His  paintings,  some 
of  which  are  at  Cassel  and  Brunswick,  mostly 
represent  girls,  and  are  weak  in  colouring.  He 
sometimes  worked  for  churches.  He  died  at  Ley- 
den  in  1809. 

BILCOY,  Marie  Marc  Antoine,  was  born  in 
Paris  in  1755.  He  painted  a  number  of  genre 
subjects,  and  was  received  into  the  Academy  in 
1789.     He  died  in  Paris  in  1838. 

BILFELDT,  Jean  Joseph,  a  French  miniature 
painter,  was  born  at  Avignon  in  '793.  He  studied 
under  Raspaj',  and  devoted  himself  chiefly  to 
miniatures  and  portraits,  some  of  which  are  at 
Versailles.     He  died  in  Paris  about  the  year  1849. 

BILIVERT,  Jan,  (or  Bellivebt,)  who  was  born 
at  Maestricht  in  1576,  was  brought  up  in  the 
school  of  Lodovico  Cardi,  in  Italy,  where  he  was 
called  Giovanni  Biliverti.  He  completed  some  of 
the  works  left  unfinished  at  the  death  of  his  in- 
structor, to  whose  style  he  endeavoured  to  unite 
the  expression  of  Santo  di  Titi,  and  something 
of  the  splendour  of  Paolo  Veronese.  He  died  at 
Florence  in  1644.  Amongst  his  best  works  may 
be  mentioned : 


Florence.      Pitti  Pal.     Tobias  and  the  Angel. 

„  Vffizi.  Joseph  and  Potiphar's  Wife. 

Petersburg.  Hermitage.    Hagar  in  the  Desert. 
Vienna.       Belvedere.     Christ     and     the    Woman    of 
Samaria. 

BILLINGTON,  Horace  W.,  landscape  painter, 
was  the  brother  of  the  celebrated  singer.  A  land- 
scape by  him  was  exhibited  at  the  Royal  Academy 
in  1802.     He  died  in  London,  November  17,  1812. 

BILLMARK,  Carl  Johann,  who  was  born  at 
Stockholm  in  1804,  was  a  laudscape  painter;  he 
visited  Dalecarlia,  St.  Petersburg,  and  Paris,  where 
he  studied  under  Deroy.  From  1828  to  1830  he  pub- 
lished 100  lithographic  landscape  studies,  and  in 
1833,  whilst  in  Paris,  he  produced  29  works,  repre- 
senting the  scenery  of  his  native  coimtry ;  and  later 
on  24  plates  of  views  on  the  Rhine,  and  also  100 
plates  in  a  work  entitled,  '  Journey  from  Stockholm 
to  Naples.'  He  was  a  member  of  the  Academy  of 
Stockholm,  and  received  the  decoration  of  the 
Wasa  order.     He  died  in  Paris  in  1870. 

BILLONI,  GiAMBATTiSTA,  a  painter  of  Padua, 
was  bom  in  1576,  and  died  in  1636.  He  painted 
landscapes  and  portraits,  and  sometimes  attempted 
history  ;  but  his  reputation  is  now  confined  to  his 
portraits. 

BILLOTTE,  RENfe,  born  at  Tarbes  (Hautes 
Pyr^n^es)  June  24,  1846.  A  pupil  of  Eugene 
Fromentin.  Exhibited  yearly  since  1878  at  the 
Salon  des  Champs  Elysdes,  and  since  1890  at  the 
Champs  de  Mars.  He  chiefly  painted  Dutch  land- 
scapes and  views  around  Paris.  His  '  La  Neige  i 
la  Porte  d'Asniferes'  (Musde  du  Luxembourg)  and 
'Le  Soir  k  I'Avenue  de  Villiers'  (Mus^e  de  Dijon) 
are  well  known.  -He  also  painted  a  decorative 
panel  for  the  Hotel  de  Ville,  '  La  Seine  au  Quai 
d'Orsay.'  He  gained  the  silver  medal  at  the 
Exposition  Universelle  of  '89.  He  was  secretary 
of  the  National  Society  of  Beaux  Arts,  and  member 
of  the  Pastel  Society,  and  Chevalier  of  the  Legion 
of  Honour.  A  collection  of  his  works  was  shown 
at  the  Goupil  Gallery  in  London  in  1897.        p,  p_ 

BILLWILLER,  Johann  Lorenz  Jacob,  born  "at 
St.  Gallen,  Switzerland,  in  1780,  etched  the  por- 
traits of  Fiiger,  Maurer,  Schmutzer,  Fischer,  and 
himself,  and  painted  genre  pieces  after  Kobell  and 
J.  Seelos.  He  committed  suicide  at  Vienna  in 
1810. 

BILLY,  Niccol6  and  Antonio,  (or  BiLLi,)two 
Italian  engravers,  who  flourished  about  the  year 
1734,  engraved  several  portraits  and  historical 
subjects,  executed  with  the  graver  in  rather  a  stiff, 
dry  manner.  Niccol6  engraved  some  plates  for  the 
Museum  Florentinum. 

Fredericus  Zuccharus. 

Hans  Holbein  ;  se  ifse  pinx. 

Pietro  Leone  Ghezzi ;  se  ipse  del. 

Giovanni  Morandi ;  se  ipse  del. 

Cardinal  Pompeo  Aldrovandi ;  G.  Berti  pinx. 

Cardinal  SpiuelU  ;  Vom.  Dupra  pinx. 

The  Infant  Jesus  sleeping  ;  oval. 

St.  Philip  Neri  kneeling  before  the  Virgin  ;  after  S. 

Conca. 
The  Holy  Family  ;  after  Carracci  ;  half-length  figures. 
The  FUght  into  Egypt ;  after  Guido. 

BILTIUS,  Jacob.     See  Van  der  Bilt,  Jacob. 

BIMBI,  Bartolommeo,  a  Florentine  artist,  who 
was  born  in  1648,  studied  under  Lorenzo  Lippi, 
and  after  painting  historical  pieces  for  a  short 
time,  became  an  excellent  painter  of  fruit  and 
flowers ;  he  was  considered  the  Mario  of  his 
schooL     He  died  in  1725. 

BIMEL.     See  Bdmel. 

135 


A  BIOGRAPHICAL  DICTIONARY  OF 


BINCK.    See  Bink. 

BINDER,  Joseph,  who  was  born  at  Vienna  in 
1805.  received  his  first  art  instruction  in  that  city. 
From  1827  to  1834  he  resided  at  Munich.  Two 
years  later  he  became  teacher  at  the  Stadel  Insti- 
tute, Frankfort ;  and  in  1847  he  returned  to  Vienna 
and  was  elected  in  the  following  year  a  member  of 
the  Academy,  of  which  he  was  made  a  lecturer  in 
1851.  He  died  in  1864.  Binder  at  first  painted 
portraits,  but  afterwards  turned  his  attention  to 
historical  subjects,  a  branch  of  art  in  which  he  was 
very  successful.  Towards  the  close  of  his  life  he 
painted  frescoes  for  churches.  The  following  are 
some  of  his  best  works  : 

Portrait  of  the  Emperor  Albert  II.     (In  the  Kaisersaal 

at  Frankfort.) 
Madonna  and  Child. 
The  Conversion  of  the  Bobber  Julian. 
St.  Catharine  of  Siena  visiting  a  poor  family. 
St.  Florian. 
Conversion    of    St.    Eustachius.      {In  the    Belvedere, 

Vienna.) 

BINDON,  Fraxcis,  who  was  born  in  Ireland  at 
the  beginning  of  the  18th  century,  painted  por- 
traits of  Dean  Swift,  the  Archbishop  of  Armagh, 
Dr.  Sheridan,  and  other  celebrated  men  of  the  time, 
some  of  which  were  engraved.  He  also  practised 
as  an  architect,  and  built  country  mansions.  He 
died  in  171"!.^ 

BINET,  Adolphe  Gustave,  younger  brother  of 
Victor  J.  B.  Binet,  born  February  2,  1854,  at  Saint 
Sauveur  (Calvados),  became  a  pupil  of  Geronie 
at  the  school  of  Beaux-Arts,  and  gained  consider- 
able reputation  as  a  painter  of  Paris  life  and 
scenes.  Later  he  became  a  follower  of  the 
mystical  school,  but  he  is  best  known  by  his  great 
work  in  the  Hotel  de  Ville,  representing  a  sortie 
by  the  National  Guard  from  Paris  in  1870.  This 
■was  exhibited  in  the  Champ  de  Mars  salon  in  1891. 
He  obtained  a  third-class  medal  in  1885,  and  a 
silver  medal  in  1889.     He  died  in  Paris  in  1897. 

BINET,  LODIS,  a  French  engraver,  was  born 
in  Paris  in  1744.  He  was  a  pupil  of  Beauvarlet, 
and  engraved  several  plates  after  the  works  of 
Greuze,  Joseph  Vernet,  and  other  masters.  He 
died  in  Paris  about  the  year  1790. 

BING,  Edwabd,  (or  Byng,)  was  an  assistant  to 
Sir  Godfrey  Kneller,  who,  before  his  death,  com- 
missioned him  to  finish  all  his  portraits  which 
were  then  incomplete,  and  in  return  settled  on 
him  £100  a  year.  Bing  died  about  the  middle  of 
the  last  century.  His  brother,  Robert  Bing,  was 
also  employed  by  Kneller. 

BINK,  Jakob,  (or  Binck,)  an  old  German  en- 
graver and  painter,  was  born  at  Cologne  between 
1490  and  1504.  From  the  earliest  accounts  of 
Bink,  we  must  consider  it  probable  that  he  was  a 
pupil  of  Diirer,  but  this  is  by  no  means  certain, 
while  his  early  residence  in  Italy  throws  a  doubt 
upon  the  supposition.  He  is  also  said  to  have 
worked  under  Marc'  Antonio  in  Rome.  One  of 
his  largest  plates  is  a  rather  feeble  copy  of  the  very 
popular  '  Massacre  of  the  Innocents '  by  Raphael. 
Previous  to  the  year  1546  he  was  appointed  painter 
to  King  Christian  III.  of  Denmark,  whose  portrait 
and  that  of  his  wife  Queen  Dorothea,  by  him,  are 
said  to  be  at  Copenhagen.  He  was  also  employed 
by  Prince  Albrecht  of  Brandenburg,  who  sent  him 
in  1549  to  the  Netherlands,  to  erect  a  monument 
to  the  late  Princess.  Bink  now  received  a  fixed 
annual  salary  from  the  above-named  prince,  and 
removed  his  wife  and  family  to  Konigsberg,  where, 

136 


TpT) 


about  twenty  years  after,  he  died,  in  1568  or  1569. 
Of  his  paintings  none  but  portraits  are  known.  In 
the  Garderobe  at  Konigsberg  are  those  of  '  Prince 
Albrecht '  and  his  '  First  Wife,'  and  his  own  por- 
trait is  in  the  Belvedere,  Vienna.  Bink's  pictures 
are  remarkable  for  correctness  of  drawing  and 
general  artistic  taste.  This  artist  holds  a  dis- 
tinguished rank  among  the  engravers  denominated, 
on  account  of  the  small  size  of  their  prints,  by  the 
name  of  the  '  Little  Masters.'  His  st}'le  is  very 
neat,  sometimes  resembling  the  works  of  H.  Alde- 
grever,  but  his  plates  evince  less  mastery  in  the 
execution.  His  drawing  is  correct,  and  there  is 
an  agreeable  taste  in  the  turn  of  his  figures.  There 
has  existed  considerable  confusion  respecting  the 
marks  of  the  artists  of  this  period,  particularly  those 
whose  names  commence  wdth  a  £.  The  works  of 
this  master  are  generally  marked  %vith  the  cipher 
annexed,  the  C  meaning  Coloniensis. 
Several  other  engravers  used  the  initials 
/.  £.,  one  of  whom,  very  skilful  indeed, 
and  possessed  of  much  invention,  is  mis- 
taken by  Sandrart  for  Bink.  The  following  are  his 
principal  prints : 

The  Portrait  of  Jacob  Bink,  with  a  cap,  a  sk\Ul  in  his 

cloak,  and  a  cup  in  his  right  hand. 
The  Portrait  of  Lucas  Gassel ;  /.  £.    1529.    Inscribed 

Ima^o  ab  Jacob  Binck  ad  txivum  delineata. 
Portrait  of  Francis  I. :  Franciscus  rex  Franciff. 
Portrait  of  Claude,  First  Queen  of  Francis  I.     1526. 
Christiernus  II.  Danorum  Eex.     1525. 
Elisabeta  Danorum  Regina. 
Christian  III.,  surrounded  by  nine  shields  of  arms  and 

six  Cupids,  is  one  of  his  most  elaborate  and  excellent 

engravings.    It  is  rare,  and  not  in  Bartsch's  cata- 
logue. 
St.  Jerome,  with  the  Lion. 
Twenty,   representing   the   Divinities ;    copied    after 

Caralius,  who  engraved  these  plates  after  II  Rosso. 
Adam  holding  the  branch  of  a  tree. 
Eve,  with  a  branch  with  two  apples. 
Lot  and  his  Daughters :  circular ;  marked  twice. 
David,  with  the  head  of  Goliath.     1526. 
Judith,  with  the  head  of  Holofemes. 
St.  Michael  vanquishing  the  Evil  Spirit. 
The  Virgin  Mary   adoring  the   Infant   Jesus   in    the 

manger. 
Virgin  sitting  on  a  bank. 
Saints,   various  small  prints,  including   SS.  Anthony, 

the  Virgin  with  Catharine  and  Barbary,  Magdsdene, 

George. 
The  Beheading  of  St.  John. 

The  Soldier  struggling  with  Death.    A  fine  design. 
Many  subjects  from  fable  and  allegory,  including  Cupid, 

Venus,  Hercules  and  Nessus,  Pride,  Fortune,  Justice. 
The  Massacre  of  the  Innocents ;   copied  after  Jfare- 

antonio  ;  very  scarce  ;  an  inferior  print. 
A  Woman  beating  and  driving  away  the  Devil  with 

her  crutch.    1528. 

W.  B.  S. 

BINNEMAN,  Walter.  This  artist,  who  is  sup- 
posed to  have  been  a  native  of  England,  flourished 
about  the  year  1675.  He  engraved  a  few  portraits, 
which  are  very  indifferently  executed ;  among 
them  is  that  of  Robert  Chamberlaine,  an  arithme- 
tician, prefixed  to  his  '  Accomptant's  Guide.' 

BINOIT,  Peter,  a  flower  painter  of  the  17th 
century,  flourished  in  Cologne.  In  the  Darmstadt 
Gallery  there  are  two  flower-pieces  by  him.  One 
has  his  monogram  and  the  date  1611,  and  the  other 
is  signed  P.  BINOIT.  FRANCFORT  1620. 

BINYON,  Edward,  was  an  English  landscape 
painter  in  oil  and  water-colours.  He  lived  many 
years  in  the  isle  of  Capri,  where  he  died  in  1876, 
from  the  effects  of  bathing  while  heated.  His 
works,  which  appeared  at  the  Dudley  Gallery  and 


PAINTEKS  AND  ENGRAVERS. 


at  the  Royal  Academy,  evinced  his  power  of 
colour  and  of  portraying  the  effects  of  the  sunny 
south.  Amongst  his  contributions  to  the  latter 
institution  were  : 

Arch  of  Titus.    1859. 

Capri.    1870. 

Marina  di  Laccho,  Ischia.     1873. 

Coral  Boat  at  Dawn,  Bay  of  Naples.     1875. 

Hidden  Fires,  Vesuvius  from  Capodimonte.    1876. 

BIONDI,  Feancesco,  who  was  born  at  Milan  in 
1735,  painted  sacred  subjects.  He  died  in  1805. 
In  the  gallery  of  his  native  town  there  is  a 
'Madonna  and  Child,'  by  him. 

BIORD,  Peter.  The  name  of  this  artist  is 
affixed  to  an  etching  representing  '  Cupid  and 
Psyche.'  It  is  executed  in  a  bold,  spirited  style, 
and  is  apparently  the  production  of  a  painter. 

BIRCH,  Henry,  an  English  engraver,  practised 
in  the  latter  part  of  the  18th  century.  He  engraved 
after  Stubbs  and  other  contemporary  painters. 

BIRCH,  John,  portrait  and  landscape  painter, 
was  born  at  Norton,  Derbyshire,  in  1807.  As  a 
boy  he  gave  indication  of  a  love  for  art,  sketching 
the  beautiful  scenery  of  the  neighbourhood.  For 
some  time  he  assisted  his  father  in  his  business  as 
a  file-cutter,  but  afterwards  went  to  a  carver  and 
gilder,  with  whom  he  remained  seven  years.  He 
then  determined  to  take  up  portrait  painting  as  a 
profession,  and  went  to  London,  where  he  studied 
under  H.  P.  Briggs.  Here  he  received  several 
commissions  to  paint  copies  of  the  portraits  by  his 
master,  in  which  he  was  so  successful,  that  it  was 
sometimes  difficult  to  distinguish  the  copy  from  the 
jriginal.     Amongst  the  original  portraits  which  he 

Eainted  were  several  of  Ebenezer  Elliott,  the  Corn 
aw  Rhymer  ;  one,  a  half-length,  representing  him 
amongst  the  rooks  of  Rivilin,  was  painted  on  the 
spot,  when  the  poet  and  painter  were  on  a  ramble 
together.  His  landscapes  consist  of  views  of 
the  magnificent  scenery  of  Derbyshire :  '  Dove- 
dale,'  '  Millin's  Dale,'  '  Matlock  High  Tor,'  '  En- 
trance to  the  Peak  Cavern,'  were  favourite  subjects 
of  his  pencil.  Birch  was  a  man  of  enlarged  and 
liberal  views,  and  of  great  conversational  powers. 
For  some  years,  towards  the  latter  part  of  his  life, 
he  resided  in  London,  making  occasional  visits  to 
his  native  town,  during  the  last  of  which  it  is  said 
that  he  painted  about  forty  portraits  in  nine 
months.     He  died  at  South  Hackney  in  1857. 

BIRCH,  William,  a  miniature  painter  and  en- 
graver, was  born  at  War\vick  about  1760.  He 
exhibited  enamel  portraits  at  the  Royal  Academy 
from  1781  to  1794,  when  he  went  to  Philadelphia, 
where  he  died.  As  an  engraver  he  is  best  known 
by  his  '  D^lices  de  la  Grande  Bretagne,'  consist- 
ing of  thirty-six  plates  of  ancient  buildings  in 
Norwich  and  elsewhere,  published  in  1791. 

BIRCK,  Paul.  Strutt  mentions  this  artist  as 
the  engraver  of  four  plates,  exclusive  of  a  title, 
representing  the  '  Four  Elements,'  in  circles,  sur- 
rounded with  ornaments,  which  appear  to  be  pat- 
terns for  goldsmiths.  They  are  executed  with  the 
graver  in  a  style  resembling  that  of  J.  T.  de  Bry. 
On  the  title  is  the  following  inscription  :  Quatuor 
Mundi  Elementa,  elegantibus  Jiguris  seu  imagin- 
ihus  artificiosa  expressa.     Paulus  Birch,  f. 

BIRCKAERT,  Anton,  (or  Birckart,)  a  German 
engraver,  who  was  born  at  Augsburg  in  1677,  and 
resided  some  time  at  Prague,  where  he  died  in  1748. 
He  engraved  some  large  architectural  plates  with 
figures,  which  are  executed  with  the  graver  in  a 


stiff,  formal  style.  Basan  mentions  a  print  by  him 
representing  the  '  Martyrdom  of  Forty  Portuguese 
Jesuits  ; '  after  Borgognone.  Dlabacz  has  given  a 
numerous  catalogue  of  his  works. 

BIRCKENHOLZ,  Paulus,  was  a  native  of 
Germany,  and  flourished  about  the  year  1670.  He 
was  a  print-seller  as  well  as  an  engraver,  and  pub- 
lished a  set  of  small  plates,  representing  warlike 
trophies,  with  figures,  &c.  They  are  executed 
chiefly  with  the  graver,  in  a  neat,  but  formal  style. 
The  title  to  these  plates  is  Otnnis  generis  instru- 
menta  hellica- 

BIRD,  Edward,  an  English  painter,  born  at 
Wolverhampton  in  1762  (orl772),  served  an  appren- 
ticeship to  a  maker  of  tea-trays,  and  was  employed 
to  embellish  them  with  fruit,  flowers,  and  fanciful 
designs.  At  the  expiration  of  his  term  of  service  he 
left  Birmingham,  and  set  up  a  school  for  drawing 
at  Bristol.  During  the  intervals  of  instruction 
he  made  sketches,  designs,  and  compositions  for 
pictures  ;  and  it  would  appear  that  his  progress 
was  due  to  his  own  observation  and  persevering 
industry.  He  painted  humorous  and  pathetic  sub- 
jects, which  attracted  much  attention,  and  induced 
the  members  of  the  Royal  Academy  to  enrol  his 
name  as  an  Associate  in  1812,  and  as  an  Acade- 
mician in  1815.  His  best  pictures,  as  historical 
compositions,  are  'The  Battle  of  Chevy  Chase,' 
and  the  '  Surrender  of  Calais.'  His  chief  merit,  as 
an  artist,  lay  in  natural  and  touching  representa- 
tions of  homely  and  social  subjects  ;  history,  both 
sacred  and  profane,  required  a  spirit  more  imagin- 
ative than  he  possessed.  He  was  a  kind-hearted 
man,  much  respected  by  his  brother  arti?l8  and 
all  who  knew  himt  He  died  at  Bristol  in  1819, 
and  was  buried  in  the  cloisters  of  the  cathedral. 
Among  his  best  paintings  are : 

Good  News  {exhibited  at  the  Academy  in  1809). 

Choristers  Rehearsing  {purchased  hi/  the  Prince  Reijent). 

A  Country  Auction  (exhibited  in  1812). 

A  Poacher's  Career,  in  six  subjects.     1812. 

Queen  Philippa  interceding  for  the  Burghers  of  Calais. 

1814. 
The  Day  after  Chevy  Chase  {purchased  by  the  Duke  of 

Sutherland  for  300  guineas). 
Death  of  Eli.    {This  picture  received  a  prize  of  300 

guineas  from  the  British  Institution,  and  was  bought 

for  500  guineas  by  the  Duke  of  Sutherland.) 
The  Baffle  for  the  Watch  {in  the  National  Gallery). 
Christ  led  to  be  Crucified  {exhibited  in  1817). 
The  Death  of  Sapphira  {his  last  work).     1818. 

BIRD,  John,  a  landscape  painter,  was  born  in 
1768.  He  made  some  of  the  drawings  for  Angus's 
'Principal  Seats  of  the  Nobility'  (1787),  and  other 
topographical  works.    He  died  at  Whitby  in  1829. 

BISCAINO,  Bartolommeo,  the  son  of  Giovaimi 
Andrea  Bisoaino,  was  born  at  Genoa  in  1632.  He 
was  instructed  by  his  father  in  the  first  rudiments 
of  the  art,  and  afterivards  became  a  scholar  of 
Valeric  Castelli.  From  the  early  indications  he 
gave  of  uncommon  genius,  great  expectations  were 
formed  of  his  future  eminence,  and  they  were  not 
disappointed.  Before  he  had  reached  his  twenty- 
fifth  year  he  had  painted  many  considerable  works, 
but  his  career  was  cut  short  by  the  plague,  which 
visited  Genoa  in  1657,  to  which  his  father  and 
himself  fell  victims.  The  Dresden  Gallery  pos- 
sesses three  pictures  by  this  artist,  representing 
'  The  Woman  taken  in  Adultery,'  '  The  Adoration 
of  the  Magi,'  and  'The  Circumcision  of  Christ.' 
He  etched  several  plates,  in  a  free,  bold  style, 
resembling  in  some  degree  the  works  of  Benedetto 
Castiglione,  but  in  a  more  finished  manner.      His 

137 


A  BIOGRAPHICAL  DICTIONARY  OF 


subjects  are  finely  composed  and  elegantly  drawn. 
He  sometimes  marked  his  plates  B.  B.  The 
following  are  his  most  esteemed  prints : 

Moses  in  the  Bulmshes. 

Susannah  and  the  Elders. 

The  Nativity,  with  Angels. 

The  Circumcision. 

The  "Wise  Men's  Offering. 

Herodias,  with  the  Head  of  St.  John. 

The  Virgin  Mary  and  Infant  Jesus,  with  Angels. 

The  Virgin  suckling  the  Infant  Jesus,  with  St.  Joseph. 

The  Virgin  suckling  the  Infant,  with  St.  Joseph,  and 

St.  John  with  his  lamb. 
The  Virgin  adoring  the  Infant  Jesus. 
The  Virgin  with  the  Infant  Jesus  on  her  knee,  St.  John 

kissing  his  foot,  and  St.  Joseph  behind. 
The  Virgin  with  the  Infant  Jesus  standing  on  her  knee, 

stretching  out  His  arm  to  St.  Joseph  ;   half-length 

figures. 
The  Holy  Family,  with  St.  John  holding  a  cross. 
The  Repose  in  Egypt,  with  Angels  in  the  clouds. 
The  Infant  Jesus  reposing  on  the  globe. 
St.  Joseph,  with  the  Infant  Jesus ;  half-length. 
St.  Christopher  giving  liis  hand  to  the  Infant  Jesus. 
St.  Christopher,  with  the  Infant  Jesus. 
Mary  Magdalene  in  the  desert ;  dated  1656. 

BISCAINO,  Giovanni  Andrea,  a  native  of 
Genoa,  painted  landscapes  in  a  bold  and  spirited 
style  ;  but,  according  to  Soprani,  the  necessity  he 
was  under  to  paint  with  despatch,  in_  order  to 
support  a  numerous  family,  prevented  his  bestow- 
ing that  care  and  attention  which  would  have 
rendered  his  works  more  deserving  of  our  esteem. 
He  died  at  Genoa,  of  the  plague,  in  1657. 

BISCARRA,  Giovanni,  an  Italian  historical 
painter,  of  Turin,  flourisned  in  the  first  half  of  the 
19th  century.  He  died  in  1851.  His  own  portrait 
is  in  the  Uffizi  at  Florence. 

BISCHOF,  Feiedbich,  who  was  born  at  Anspach 
in  1819,  was  a  painter  of  genre  subjects.  'The 
First  Snow,'  by  him,  is  in  the  Pinakothek  at 
Munich.     He  died  in  1873. 

BISCHOP,  CoRNELIS,  a  Dutch  painter,  who  was 
bom  at  Dordrecht  in  1630,  was  a  scholar  of  Fer- 
dinand Bol.  He  painted  history  and  portraits,  in 
the  style  of  his  master,  but  \\-ith  very  indifferent 
success.  He  died  in  1674.  His  son,  Abraham 
BiscHOP,  was  eminent  as  a  painter  of  birds. 

BISET,  Kakel  Emandel,  a  Flemish  painter,  was 
born  at  Mechlin  in  1633.  It  is  not  said  by  whom 
he  was  instructed,  but  he  went  to  Paris  when  he 
was  young,  and  met  with  great  encouragement, 
his  pictures,  which  represented  gallant  assemblies, 
balls,  concerts,  and  what  are  called  'conversations,' 
being  adapted  to  French  taste.  Notwithstanding 
his  success,  the  love  of  his  native  country  induced 
him  to  return  to  Antwerp,  where  he  was  appointed 
director  of  the  Academy,  in  1674.  He  designed 
his  subjects  with  taste,  but  his  colour  is  rather 
cold  and  grey.  His  chief  work  is  a  large  picture 
in  the  Brussels  Gallery,  formerly  in  the  hall  of  the 
Archers'  Guild  at  Antwerp,  representing  '  William 
Tell  preparhig  to  shoot  the  Apple  from  the  Head 
of  his  Son.'  A  '  Family  Group '  by  him  is  in  the 
Museum  at  Rotterdam.  He  died  at  Breda  in  1680 
(or  1685).  His  son  Jan  Baptist  Biset  was  also 
a  painter. 

BISI,  Fra  Bonaventura,  called  '  Padre  Pittorini,' 
was  a  monk  of  the  order  of  St.  Francis,  at  Bologna, 
where  he  was  born  in  1612  (or  1610).  He  had 
been  instructed  in  drawing  when  young,  by  Lucio 
Massari,  and  was  celebrated  for  his  copies  in 
miniature  from  the  works  of  Correggio,  Titian, 
Guido,  &c.,  many  of  which  were  in  the  cabinet  of 
138 


Alfonso  IV.  of  Modena,  by  whom  he  was  employed. 
He  also  etched  a  few  plates  after  Parmigiano, 
Guido,  &c.,  and  one  after  his  own  design  of  a 
'  Holy  Family,  with  St.  John  and  St.  Elisabeth,' 
marked  F.  B.  B.  F.  1631.  He  died  at  Modena  in 
1662. 

BISI,  MicHELE,  an  Italian  engraver  and  painter, 
who  was  born  at  Genoa  about  1788,  does  honour  to 
the  schools  of  Bartolozzi,  Rosaspina,  and  Longhi. 
He  first  distinguished  himself  by  the  publication 
of  the  '  Pinacoteca  del  Palazzo  Reale  delle  Scienze 
e  delle  Arti  di  Milano,'  in  which  he  was  aided  by 
his  -vnle,  Ernesta  Bisi,  who  was  likewise  a  pupil 
of  Longhi.  In  1819  he  undertook  a  series  of 
engravings  from  the  paintings  of  Andrea  Appiani, 
in  which  he  was  assisted  by  some  of  the  best 
scholars  of  Longhi.  His  engraving  of  '  Venus 
embracing  Cupid '  happily  expresses  the  beauty 
of  the  original  picture.  Subsequently  appeared 
'  The  Virgin  and  Infant  Christ  enthroned,  attended 
by  St.  Anthony  and  St.  Barbara,'  after  Luini, 
which  he  has  treated  in  a  brilliant  and  delicate 
manner,  preserving  the  beauty  and  grace  peculiar 
to  the  master ;  '  Andromeda  and  Perseus,'  after 
Guercino ;  an  '  Adoration  of  the  Virgin,'  after 
Sassoferrato ;  and  'The  OfEering  of  the  Magi,' 
after  Gaudenzio  di  Ferrara.  He  also  succeeded 
as  a  painter  of  landscapes. 

BISQDERT,  Antonio,  was  a  Spanish  historical 
painter,  who  was  bom  at  Valencia,  and  a  scholar 
of  Ribalta.  He  established  himself  at  Teruel  in 
1620,  and  became  renowned  ns  a  painter.  He  was 
a  good  colourist  and  designer,  and  infused  much 
sentiment  into  his  pictures.  He  also  copied 
Sebastiano  del  Piorabo's  '  Dead  Christ  in  the  arms 
of  the  Virgin.'     He  died  in  1646. 

BISSCHOP,  Jan  de.    See  Db  Bisscnop. 

BISSET,  James,  born  in  1760,  first  practised  as 
a  miniature  painter  at  Newmarket.  ,  He  afterwards 
went  to  Birmingham,  where  he  engraved  the  em- 
blematic plates  to  his  'Survey  round  Birmingham' 
(1800).  In  1814  he  published  a  '  Guide  to  Leam- 
ington.'    He  died  there  in  1832. 

BISSOLO,  Pier  Francesco,  was,  it  is  believed, 
a  native  of  Treviso,  and  was  brought  up  in  the 
school  of  the  Bellini  at  Venice.  He  flourished 
from  about  1492  to  1530.  His  paintings  are  very 
rare.  His  works  at  Murano,  and  in  the  cathedral 
of  Treviso,  were  compared  by  Lanzi  with  those  of 
Palma  Vecchio. 

Berlin,  Galleiy,  Eesurrection  of  Christ ;  Castel-Franco, 
Floriano,  Altar-piece  (signed  and  dated  MDXXVni); 
Bre.scia,  Madonna  and  Saints;  London,  Benson  Coll., 
Three  pictures ;  Venice,  Academy,  Christ  exchanging 
the  crown  of  thorns  of  St.  Catharine  of  Siena  for  a 
crovra  of  gold  {signed  Fraciscus  BissoLo)^/ormer?y 
in  San  Pietro  Martire,  Jliirano  {generally  consider^ 
his  masterpiece),  and  three  other  works. 

There  are  also  pictures  by  him  in  the  Correr 
Museum,  Layard  Gallery,  and  Redentore  Church, 
in  Venice. 

Francesco  Bissolo  is  thought  by  Crowe  and 
Cavalcaselle  to  be  possibly  identical  with  Pietro 
de'  Ingannati,  the  author  of  a  'M^idonna  and  Child' 
in  the  Beriin  Gallery— signed  Petrds  de  Ingan- 
ATOS  P. 

BISSONI,  Giovanni  Battista.  was  born  at  Padua 
in  1576  ;  and,  according  to  Ridolfi,  was  first  a 
scholar  of  Francesco  Appollodoro,  called  II  Porcia, 
a  portrait  painter,  and  afterwards  of  Dario  VarotarL 
Bissoni  painted  several  pictures  for  the  churches 


PAINTERS  AND  ENGEAVERS. 


and  convents  at  Padua  and  Ravenna.  He  died  in 
1636. 

BISUCCIO,  Leonardo  di,  of  Milan,  is  a  painter 
whose  name  has  been  handed  down  to  posterity  by 
the  reputation  of  one  work  only.  It  is  the  decora- 
tion of  the  chapel  of  Sergiani  Carracciolo,  in  the 
church  of  San  Giovanni  a  Carbonara,  in  Naples. 
The  subjects  are  scenes  from  the  life  of  the  Virgin, 
in  which  several  portraits  of  members  of  the  Car- 
racciolo family  have  been  introduced.  In  general 
treatment  the  work  resembles  the  style  of  Giotto, 
but  the  heads  partake  of  the  beauty  of  Era  An- 
gelico.  Bisuccio  lived  about  the  middle  of  the 
15th  century. 

BITTERLICH,  Eddard,  was  bom  at  Stupnicka, 
in  Galicia,  where  his  father  had  established  him- 
self. Whilst  Eduard  was  still  young  his  parents 
moved  to  Vienna,  with  the  intention  of  educating 
him  for  the  civil  service,  but  against  their  will  he 
entered  Waldmiiller's  studio,  and  devoted  himself 
to  miniature  painting.  In  1855  he  went  to  Venice 
in  order  to  copy  the  works  of  the  old  masters.  His 
enthusiasm  was  so  great  that  he  would  scarcely 
allow  himself  the  time  to  eat  and  drink.  Upon  his 
return  he  married  Marie  Singer  von  Wyssogurski, 
and  immediately  afterwards  put  himself  under  the 
direction  of  Rahl,  whom  he  never  afterwards  left 
until  his  death.  For  this  master  he  designed  many 
fresco  paintings,  and  sketched  an  immense  number 
of  small  compositions,  amongst  them  the  20  sheets 
for  the  'Wanderings  of  the  Argonauts,'  and  the 
coloured  sketches  for  the  Duke  of  Oldenburg. 
After  Rahl's  death,  Bitterlich's  principal  work — 
executed  in  conjunction  with  Griepenkerl — was  the 
design  for  the  new  Opera  House  ;  and  of  his  earlier 
productions  we  may  name,  The  Pompeian  figures 
in  the  Ypsilanti  Palace,  and  the  20  Lunettes  in  the 
Banqueting-hall  of  the  Grand  Hotel  of  Vienna, 
together  with  the  pictures  for  the  restored  castle 
of  Duke  Leopold  in  Homstein.  He  died  at  Press- 
baum,  near  Vienna,  in  1872. 

BITTHEUSEE,  Johann  Pleickard,  an  engraver, 
bom  at  Biitthard  in  1774,  was  instructed  by  J.  G. 
von  Miiller;  he  was  professor  at  Wiirzburg,  and 
died  there  in  1859.  The  following  engravings  are 
some  of  his  best  works: 

The  Last  Supper ;  after  Leonardo  da  Finci.    1805. 
The  meeting  of    Augustus   and  Cleopatra;   a/ter  Ji. 

Mengs. 
The  Wife  of  Domenichino  coming  out  of  the  bath ; 

after  Domenichino, 

BIZAMANDS  was  the  name  of  a  family  of 
painters  who  belonged  to  a  school  at  Otranto,  in 
Apuleia,  and  flourished  a  short  time  before  the  15th 
century.  Their  paintings  are  executed  in  the 
Byzantine  style,  with  landscapes  in  the  back- 
grounds. The  painting  in  the  Museo  Cristiano  of 
the  Vatican,  of  '  Christ,  risen  from  the  dead,  and 
Mary  Magdalene,'  is  attributed  to  Donatus  Biza- 
manus;  and  that  in  the  Museum  at  Berlin,  of 
'The  Descent  from  the  Cross,'  to  Angelus  Biza- 
manus. 

BIZEMONT-PRUNELE,  Andr6  Gaspard  Par- 
FAIT,  Comte  de,  French  draughtsman  and  engraver, 
was  born  at  the  ch&teau  of  Tignonville,  near 
Etampes,  in  1752.  He  was  a  pupil  of  E.  Gaucher, 
and  etched  and  engraved  on  wood  a  considerable 
number  of  works.  He  was  for  some  years  director 
of  the  Museum  at  Orleans,  and  died  there  in  1837. 
Among  his  etchings  may  be  mentioned : 

Bagar  and  Ishmael ;  after  Guereino. 
OephaluB  and  Frocris ;  after  the  same. 


Virgin  and  Child;  after  Guido. 

A  Pieti ;  after  Ribera. 

La  Nourrice ;  after  Natoire. 

An  AJlegory  upon  the  death  of  Louis  SVl.  and  of 

Marie  Antoinette. 

BIZZELLI,  Giovanni,  a  Florentine  painter,  bom 
in  1556.  He  was  a  scholar  of  Alessandro  Allori, 
called  Bronzino.  He  afterwards  went  to  Rome, 
where  he  painted  some  pictures  for  the  churches. 
On  his  return  to  Florence  he  executed  several 
works  for  the  public  edifices,  which  are  described 
by  Borghini  in  his  account  of  the  painters  and 
sculptors  of  Florence.  He  died  in  1612.  His 
own  Portrait  and  an  '  Annunciation '  by  him  are 
in  the  Uffizi. 

BLACEO,  Bernardino.  Ridolfi  describes  several 
vporks  of  this  painter  in  the  churches  at  Udine,  in 
the  Friuli — among  them,  the  principal  altar-piece 
of  the  church  of  Santa  Lucia,  representing  the 
'  Virgin  and  Infant  Saviour,  with  a  group  of 
Angels,  and  St.  Lucia  and  St.  Agatha ; '  and  in 
Porta  Nuova,  the  '  Virgin  and  Infant  Christ,  with 
St.  Peter  and  St.  John.'  Blaceo  appears  to  have 
flourished  about  1550. 

BLACKLOCK,  W.  J.,  a  landscape  painter,  was 
bom  in  1816.  His  views  of  scenery  in  the  North 
of  England  were  much  admired  at  the  Royal 
Academy  Exhibition  of  1853  and  the  two  follow- 
ing years.  He  died  at  Brampton,  Cumberland,  in 
1858. 

BLACKMORE,  John,  a  mezzotint  engraver, 
was  born  in  London  about  the  year  1740.  We 
have  by  him  some  well-scraped  plates,  chiefly 
portraits  after  Sir  Joshua  Reynolds,  among  which 
are  the  following : 

Samuel  Foote  ;  after  Sir  Joshua  Beynolds,     1771. 
W.  H.  Bunbury,  caricaturist ;  after  the  same. 
Henry  Bunbury  ;  after  the  same. 
Innocence.    1770. 

He  also  engraved  plates  after  Frans  Hals  and  other 
Flemish  artists.     He  died  about  1780. 

BLACKWELL,  Elizabeth,  the  daughter  of  a 
London  merchant,  is  known  as  the  author  of  '  A 
Curious  Herbal,  containing  500  cuts  of  the  most 
useful  plants  which  are  now  used  in  the  practice 
of  physic,  engraved  on  copper-plates  after  draw- 
ings taken  from  the  life,'  published  in  1737  and 
1739.  This  celebrated  botanical  work  was  issued 
at  Nuremberg  in  1757,  with  German  and  Latin  text, 
and  600  coloured  plates,  and  at  Leipsic  in  1794. 
Mrs.  Blaok%vell  was  the  wife  of  Dr.  Blackwell, 
who  for  many  years  was  physician  to  the  King 
of  Sweden,  and  was  involved  in  a  State  prose- 
cution for  treason,  and  beheaded  in  1747.  His 
widow  lived  till  1774. 

BLAGRAVE,  John,  an  eminent  mathematician, 
a  native  of  Berkshire,  published  among  other 
works,  in  1585,  'The  Mathematical  Jewel,'  illus- 
trated with  woodcuts,  executed  by  himself,  in  a 
neat  style.     He  died  in  1611. 

BLAIN  DE  FONTENAY,  Jean  Baptiste.  A 
mistake  for  Belin  de  Fontenay,  which  see. 

BLAIZE,  Candide,  a  French  miniature  painter, 
was  bom  at  Nancy  in  1795,  and  died  in  Paris 
about  1855. 

BLAKE,  B.,  a  painter  of  still-life,  birds,  fish, 
and  other  objects  of  that  kind.  His  works,  when 
carefully  painted,  are  very  pleasing,  but  his  circum- 
stances, and  his  mode  of  living,  obliged  him  to  hurry 
his  pictures,  and  too  frequently  to  repeat  them. 
As  they  were  to  a  certain  degree  popular  in  his 

139 


A  BIOGRAPHICAL  DICTIONARY  OF 


day,  the  dealers  held  him  in  thrall,  and  injured  his 
reputation  by  employing  others  to  copy  his  works. 
He  was  also  compelled  by  necessity  to  make,  for 
these  patrons,  copies  of  the  works  of  Dutch  painters, 
in  which  he  was  sometimes  so  successful  as  to 
enable  his  employers  to  mislead  their  customers. 
Little  of  his  history  is  kno^m.  He  exhibited 
'Views  of  Dunford,  near  Salisbury,'  more  than 
once  at  the  Academy;  and  '  Dead  Game'  frequently 
with  the  Society  of  British  Artists,  of  which  he 
was  a  foundation  member.  He  died  about  the 
year  1830. 

BLAKE,  Nicholas,  a  draughtsman  and  engraver, 
who  illustrated  Hanway's  '  Travels  in  Russia  and 
Persia,'  published  in  1763,  an  edition  of  'Pope's 
Poems,'  and  other  works.  He  was  a  native  of 
Ireland,  and  lived  for  many  years  in  Paris,  where 
it  is  believed  he  died  at  the  end  of  the  last  century. 
BLAKE,  William,  painter  and  engraver,  was 
born  in  London  on  the  28th  of  November,  1757. 
(The  "good  MS.  authority ''  on  which  Mr.  Swinburne 
prefers  the  20th  of  November  is  insufficient  to  dis- 
credit the  evidence,  especially  that  of  Varley's 
horoscope,  for  the  later  date.)  He  was  the  second 
son  of  a  hosier  who  had  carried  on  business  for 
many  years  at  28,  Broad  St.,  Golden  Square,  a 
quarter  occupied  at  that  time  by  shops  and 
residences  of  a  good  class.  Little  is  known  of  his 
parents'  temperaments  and  acquirements  ;  but  the 
fact  of  their  sending  the  lad,  in  his  tenth  year,  to 
Pars'  drawing  academy  in  the  Strand  (considered 
the  best  drawing-school  of  the  day),  is  evidence 
that  they  lacked  neither  the  will  nor  the  means  to 
launch  their  son  upon  an  artistic  career.  The  boy 
had  already  shown  his  bent  by  drawing  many 
curious  sketches  on  the  hosier's  bills  and  counters. 
At  fourteen  he  was  taken  to  be  apprenticed  to  the 
fashionable  engraver  Ryland  ;  but  liis  strong  pre- 
sentiment that  i^yland  would  some  day  be  hanged 
(a  presentiment  eventually  justified  to  the  letter) 
led  to  the  breaking  off  of  the  negotiations,  and  it 
was  as  a  pupil  of  James  Basire,  an  engraver  of  the 
hard  and  dry  school,  that  Blake  spent  the  years 
1771-8.  For  the  understanding  of  his  art  it  is 
important  to  remember  that,  at  an  age  when  the 
majority  of  students  have  hardly  entered  upontheir 
more  serious  training,  Blake  had  already  begun  to 
draw  and  engrave  for  publication  ;  for  example, 
'Joseph  of  Arimathea  among  the  Rocks  of  Albion,' 
an  engraving  put  forward  as  a  copy  from  Michael 
Angelo,  was  almost  certainly  Blake's  own  design, 
and  it  is  dated  1773.  Nor  was  the  isolation  in 
which  this  precocious  activity  was  exercised  a 
mere  matter  of  a  lonely  studio  or  workshop. 
Basire  employed  his  apprentice  to  make  drawings 
of  London  churches,  and  it  is  on  record  that  young 
Blake  was  often  locked  up  in  Westminster  Abbey 
with  no  companions  save  the  monarchs  and  heroes 
whose  crumbling  effigies  he  had  been  sent  to  copy. 
There  is  ground  for  the  supposition  that  he  was 
present  on  the  day  when  the  body  of  the  first 
Edward  was  exhumed  and  the  royal  face  for  a 
moment  uncovered.  But,  be  this  as  it  may,  it  is 
certain  that  the  lad's  innate  sympathy  with  the 
supernatural  was  greatly  and  perhaps  morbid!}' 
enhanced  by  the  long  hours  of  loneliness  spent  in 
haunted  vastness  and  dimness.  At  four  the  boy 
believed  he  had  seen  God  "  put  His  forehead  to  the 
W'indow,"  and  at  eight  or  ten  he  had  marvelled  at  a 
tree  bright  with  angels  on  Peckham  Rye.  How 
far  he  believed  in  the  objective  reality  of  these 
appearances  cannot  be  determined.  On  the  one 
140 


hand  stands  the  fact  that  to  the  end  of  his  life  he 
claimed  to  be  holding  converse  with  the  spirits  of 
men  no  less  great  than  Muses,  Homer,  Socrates, 
Dante,  Shakespeare  and  Milton ;  affirming,  for 
instance,  of  Shakespeare,  "  He  is  exactly  like  the 
old  engraving,  which  is  said  to  be  a  bad  one — I 
think  it  very  good."  On  the  other  hand,  full  weight 
must  be  given  to  such  remarks  as,  "  You  can  see 
what  I  do  if  you  choose.  Work  up  imagination  to 
the  state  of  vision,  and  the  thing  is  done."  Per- 
haps the  best  resolution  both  of  this  puzzle  and  of 
the  vexed  question  of  Blake's  sanity  is  the  theory 
that,  as  an  artist,  he  went  as  far  as  do  the  exponents 
of  materialism  in  arrogance  of  idiom,  though  in  an 
opposite  direction.  In  other  words,  he  did  not 
admit  the  obligation  to  confine  himself  to  every- 
day, literal  speech.  "  All  things,"  he  said,  "exist  in 
the  human  imagination  alone,''  and  to  one  who 
showed  him  '  The  Mechanic's  Magazine,'  he  said, 
"  We  artists  hate  these  things."  On  the  termination 
of  his  seven  years'  apprenticeship,  Blake  studied  for  a 
short  time  at  the  newly-established  Royal  Academy. 
But  his  preferences  and  intentions  as  an  artist  had 
already  become  tixed,  as  appears  from  some 
sentences  scribbled  bj-  him  many  years  later  in  a 
copy  of  Reynolds'  '  Discourses.'  It  seems  that 
Blake,  who,  on  the  strength  of  threepenny-pieces, 
invested  in  prints  after  such  masters  as  Raphael, 
Michael  Angelo  and  Durer,  had  been  known  years 
before  in  the  sale-rooms  as  "  the  little  connoisseur," 
"  secretly  raged  "  when  he  was  rebuked  by  Moser, 
the  keeper,  for  wasting  time  on  these  "  old,  hard, 
dry,  unfinished  works  ''  instead  of  devoting  himself 
to  Rubens  and  Le  Brun.  As  for  the  living  model, 
he  protested  tliat  natural  objects  only  "  weaken, 
deaden  and  obliterate  imagination,"  and  declared 
that  the  so-called  "  life  "  "  looks  more  like  death 
and  smells  of  mortality."  But  though  a  revolt  from 
Moser  and  the  Academy  was  inevitable  and  bene- 
ficial, it  is  a  debatable  question  how  far  a  more 
prolonged  and  all-round  course  of  training  would 
have  been  a  loss  or  a  gain  to  his  art.  After  a  dis- 
appointment in  love,  Blake  married,  in  1782, 
Catherine  Boucher,  of  whom  Mr.  Swinburne  says 
that  she  "  deserves  remembrance  as  about  the  most 
perfect  wife  on  record.''  At  the  time  of  the 
marriage  the  young  woman  could  neither  read  nor 
write,  but  she  seems  in  the  course  of  j'ears  not  only 
to  have  vanquished  these  disabilities,  but  also  to 
have  become  no  mean  draughtswoman,  while  it  is 
well  known  that  she  both  bound  her  husband's  books 
in  boards  and  coloured  many  of  his  illustrations. 
The  more  painful  stories  of  Blake's  poverty  are 
exaggerations,  and  the  accounts  of  his  squalor  are 
falsehoods.  But  "  the  last  shilhng  "  was  a  familiar 
sight.  Save  for  a  few  years  (1800-1804)  spent  at 
Felpham  in  Sussex,  in  the  impossible  society  of  the 
■'poet"  Hayley,  the  couple . passed  the  whole  of 
their  lives  in  London  lodgings.  Blake  never  went 
abroad,  and  had  contact  with  no  artistic  life  save 
that  of  Georgian  London.  The  desire  for  holidays 
was  a  mystery  to  him,  and  even  the  northern  heights 
which  are  parts  of  modern  London  made  him  ill  by 
their  strong  and  unfamiliar  air.  He  was  bred, 
bom,  married  and  buried  a  Londoner,  and  this  is 
another  of  the  facts  which  throw  light  upon  his  art, 
accounting,  as  it  does,  both  for  the  lack  of  variety 
in  proportion  to  the  bulk  of  his  almost  innumer- 
able productions,  and  for  the  immense  force  and 
mystical  beauty  of  the  ideal  creations  which  repre- 
sent the  reaction  from  his  cramped  and  ugly 
conditions.     In  1780  Blake  exhibited  '  The  Death 


PAINTERS  AND  ENGRAVERS. 


of  Earl  Godwin  '  (probably  in  water-colours)  at  the 
Royal  Academy.  In  1783  appeared,  at  the  cost  of 
friends,  the  slim  octavo  volume  '  Poetical  Sketches 
by  W.  B. ,'  now  extremely  rare.  '  Poetical  Sketches ' 
was  printed  and  published  in  the  ordinary  way. 
But  four  years  later  came  a  little  book  which  in 
twenty-seven  pages  presents  examples  of  nearly 
every  one  of  its  author's  extraordinarj'  character- 
istics. This  was  the  famous  '  Songs  of  Innocence,' 
which,  along  with  its  companion,  '  Songs  of  Ex- 
perience,' is  now  universally  admitted  to  contain 
some  of  the  most  clearly  inspired  and  perfectly 
beautiful  poetry  in  the  literature  of  the  world. 
The  songs  composing  the  volume  were  involved  in 
marginal  decorations  of  a  beauty  and  originality 
only  less  than  the  songs'  own,  and  the  whole  work 
was  written,  embellished,  engraved,  printed  and 
bound  by  the  poet  and  his  wife.  Even  the  ink 
was  of  their  own  making.  As  for  the  technical 
method,  it  is  thus  described  by  Gilchrist  :  "  It  was 
quite  an  original  one.  It  consisted  of  a  species  of 
engraving  in  relief,  both  words  and  designs.  The 
verse  was  written  and  the  designs  and  marginal 
embellishments  outlined  on  the  copper  with  an 
impervious  liquid,  probably  the  ordinary  stopping- 
out  varnish  of  engravers.  Then  all  the  white  parts 
or  lights,  the  remainder  of  the  plate,  that  is,  were 
eaten  away  with  aqua  fortis  or  other  acid,  so  that 
the  outline  of  letter  and  design  was  left  prominent 
as  in  stereotype.  From  these  plates  he  printed  off 
in  any  tint,  yellow,  brown,  blue,  required  to  be  the 
prevailing  or  ground  colour  in  his  facsimiles  ;  red 
he  used  for  the  letterpress.  The  page  was  then 
coloured  up  by  hand  in  imitation  of  the  original 
drawing,  with  more  or  less  variety  of  detail  in  the 
local  hues."  The  secret  of  this  serviceable  process 
Blake  firml}'  believed  himself  to  have  learned  one 
night  in  a  dream  from  the  spirit  of  his  dead  brother 
Robert,  and  it  is  on  record  that,  next  morning, 
after  Mrs.  Blake  had  paid  one  shilling  and  tenpence 
for  the  materials  required  to  test  its  efficacy,  only 
eightpence  remained  in  the  common  purse.  The 
experiment  succeeded,  and  Blake,  whose  writings 
(with  the  exception  of '  Poetical  Sketches '  and  part 
of  a  poem  on  the  French  Revolution)  never  tempted 
a  publisher  till  after  his  death,  became  his  own 
printer  and  bookseller.  The  result,  as  in  nearly  all 
the  crucial  issues  of  his  life,  was  a  further  pressing 
in  of  the  artist  upon  himself,  and  the  lossof  influences 
which  some  think  would  have  corrected  and 
balanced  his  strong  natural  endowment,  while 
others  hold  that  they  would  have  weakened  and 
blurred  it.  Accustomed  to  and  even  preferring  a 
frugal  and  busy  Hfe,  Blake  fell  into  a  habit  of 
writing  only  to  please  himself  —  a  superficially 
admirable  choice  which  generally  ends  in  ignomini- 
ous unintelligibility.  The  '  Prophetic  Books ' 
('Visions  of  the  Daughters  of  Albion,'  'America,' 
'  Europe,'  '  The  Book  of  Urizen,'  '  The  Song  of 
Los,'  'The  Book  of  Ahania,'  'Jerusalem,'  and 
'  Milton'),  which,  along  with  '  The  Book  of  Thel,' 
'The  Marriage  of  Heaven  and  Hell,'  and  'The 
Gates  of  Paradise,'  complete  the  tale  of  works  en- 
graved by  Blake  according  to  the  method  of  the 
ghostly  Robert,  are  coveted  by  collectors  for  their 
rarity,  and  by  artists  for  their  powerful  illustrations 
and  decorations.  But,  despite  the  enthusiastic 
labours  of  commentators  to  elucidate  their  obscurities 
and  to  magnify  their  importance,  it  is  almost  certain 
that  they  will  ultimately  be  regarded  as  turbid 
streams  of  inscrutable  verbal  symbols  in  which  a 
lyrical  fire   of  almost  unequalled  liveliness   and 


purity  was  extinguished.     Fortunately,  however, 
while  Blake  the  poet  was  wandering  in  blind  alleys, 
Blake  the  designer  kept  pushing  onward   along  so 
straight  a  path  that  the  twenty-two  pieces  illustrat- 
ingthe  Book  of  Job,  though  executed  when  the  artist 
was  well  over  sixty  years  old,  are  not  only  his  finest 
achievement,  but  one  of  the  noblest  sequences  of 
designs  in  the  rich  domain  of  religious  art.     In 
the  '  Job '  Blake  returned  to  more  familiar  methods, 
using   the   graver   alone,   without   etching  ;     and 
although  many  of  his  admirers  have  bemoaned  the 
long  estrangement   from  what   proved  to  be  his 
most  congenial  and  effective  medium,  it  might  be 
maintained  with  equal  cogency  that  without  these 
fallow  years  the  fine  luxuriance  of  '  Job  '  had  been 
impossible.     The  illustrations  to  Dante's  '  Divina 
Commedia  '  (for  the  purposes  of  which  the  man  of 
seventy  acquired  a  working  knowledge  of  Italian) 
bade  fair  to  equal  the  '  Job,'  but  Blake's  death  out 
the  work  short  when  only  seven  of  the  hundred 
water-colour  designs  had  been  engraved.     Among 
earlier  engravings  by    Blake   may  be   mentioned 
forty-three    plates    illustrating    Young's    '  Night 
Thoughts'   (the  residue  of  the  five  hundred   and 
thirty-seven   designs    for  this   work    existing    as 
coloured  drawings  only).     The  well-known  illustra- 
tions to  Blair's  'Grave,' though  designed  by  Blake, 
were  engraved  by  Schiavonetti,  a  successful  pupil 
of     Bartolozzi.      This     arrangement    was     disin- 
genuously manipulated  by  Croraek,   a  publisher, 
who  followed  it  up  by  an  act  of  double-dealing  in 
respect  of  Blake's '  Canterbury  Pilgrims  '  which  led 
on  the  one  hand  to  a  lifelong  breach  of  old  friend- 
ship with  Stothard,  and  on  the  other  hand  to  the 
exhibition    and   to  ^  the    '  Descriptive   Catalogue  ' 
noticed  below.     Of   wood-engravings    Blake   pro- 
duced  only   the   brilliant   set   of    seventeen    tiny 
illustrations  for  Phillips'  '  Pastorals,'  executed   in 
1820-1821.     As  a  painter  Blake  is  easier  to  study 
in   his   opinions  than  in  his   achievements.     The 
National  Gallery  has  his  'The  Spiritual  Form  of 
Pitt  guiding  Behemoth,'  and  '  Return  from  Calvary,' 
and  the  British  Museum  has  some  of  his  drawings  ; 
but  by  far  the  greater  part  of  his  work  is  inacces- 
sible or  has  perished.     In  many  cases  the  destruc- 
tion must  be  blamed  either  on  an  indifferent  public 
or  on  fanatics  who  burned  innumerable  poems  and 
designs   on   the   ground   that,  though   they   were 
certainly  inspired,  their  inspiration  was  from  the 
devil.     In  other  cases,  Blake's  technical  methods 
must    be    held    responsible.     In    the    memorable 
'  Descriptive   Catalogue '  to  an    exhibition    of  his 
pictures  held  in  1809  the  artist  wrote  :   '  Clearness 
and  precision  have  been  the  chief  objects  in  paint- 
ing these  pictures — clear  colours  unmuddied  by  oil, 
and  firm  and  determinate  lineaments  unbroken  by 
shadows  which  ought  to  display  and  not  hide  form, 
as  is  the  practice  of  the  latter  schools  of  Italy  and 
Flanders."     His  frescoes,  as  he  called  them,  were 
rather  a  kind  of  tempera,  painted  in  water-colour 
on   a  ground   of  glue  and  whiting,  applied  to  a 
panel  or  linen  or  canvas,  and  it  seems  that  many 
of  them  cracked  or  were  spoilt  by  damp.     As  for 
their  contents,  the  painter  himself,  while  confessing 
his  inferiority  to  Raphael  and  Michael  Angelo,  said, 
"  I   do   pretend   to    paint   finer   than    Rubens    or 
Rembrandt   or   Correggio    or   Titian."     With   his 
engraver's  training  it  was  difficult  for  him  to  escape 
from  a  narrow  view  of  drawing.     "  I  assert,"  he 
added,  "  that  he  who  thinks  he  can  engrave  or  paint 
either,  without  being  a  master  of  drawing,   is   a 
fool.     Painting  is  drawing  on  canvas,  and  engrav- 

141 


A  BIOGRAPHICAL  DICTIONARY  OF 


ing  Ib  drawing  on  copper,  and  nothing  else  ;  and  he 
who  draws  best  must  be  the  best  artist."  It  need 
hardly  be  said  that  the  paintings  which  surrive  fail 
to  support  both  the  pretensions  and  the  theories  of 
their  author.  But  it  is  not  as  a  painter  that  fame 
is  claimed  for  Blake,  and  there  remains  a  body  of 
drawings  and  engravings  more  than  sufficient  to 
accredit  him  as  an  artist  who,  despite  his  prejudices 
and  extravagances,  must  come  to  be  ranked  among 
the  greatest  of  Englishmen.  "  In  expressing  con- 
ditions of  glaring  and  flickering  light,"  says  Ruskin, 
"Blake  is  greater  than  Rembrandt,"  and  this  is 
only  one  of  many  particular  eulogies  from  writers 
to  whom  Blake's  work  in  general  made  no  strong 
appeal.  Upon  artists  no  less  reputable  than 
Dante  Gabriel  Rossetti  his  influence,  though 
obscure  in  operation,  was  considerable,  and  upon 
certain  younger  groups  it  is  inestimable.  The  sen- 
sational character  of  some  of  his  productions  (such 
as  the  '  Visionary  Heads '  and  the  too  famous 
'Ghost  of  a  Flea'),  and  the  popular  anecdotage 
which  invariably  gathers  round  a  strong  and  un- 
conventional personality,  have  too  long  gone  on 
strengthening  the  habit  of  excluding  his  achieve- 
ment from  ordinary  consideration,  and  although 
his  own  obstinate  self-detachment  from  contem- 
porary artistic  movements  and  his  contempt  for 
court  and  academical  honours  were  certainly  the  first 
causes  of  the  neglect  into  which  he  fell,  the  time  has 
come  to  regard  them  as  forces  which  worked  to 
distinguish  him  from  more  modish  practitioners  of 
design  and  to  feel  pride  in  his  indisputably 
original  and  fine  performance.  Blake's  fruitful  old 
age,  which  without  the  friendship  of  Linnell  must 
have  been  years  of  monetary  anxiety  and  artistic 
barrenness,  ended  on  the  12th  of  August,  1827. 
He  died  "  singing  of  the  things  he  saw  in  heaven," 
and  was  buried  in  Bunhill  Fields'  Cemetery  in  a 
common  grave,  now  untraceable.  The  best  and 
fullest  account  of  him  is  that  by  Gilchrist  (2nd 
edition,  2  vols.,  London,  1880)  :  the  second  volume 
contains  an  extended  list  of  his  works  and  many 
reproductions.  The  curious  '  Father's  Memoir 
of  his  Child,'  by  B.  H.  Malkin  (London,  1806),  is 
valuable  for  the  particulars  of  Blake's  life  and 
aims  contained  in  the  preface.  Mr.  Swinburne's 
'Blake'  (London,  1866);  Mr.  W.  M.  Rossetti's 
long  memoir  and  note  prefixed  to  the  Aldine  edition 
of  Blake's  poems  (London,  1890) ;  and  Messrs. 
Ellis  and  Yeats'  three  large  volumes  (London,  1893), 
contain  much  biographical  and  critical  material,  the 
last-named  work  including  facsimiles  of  the  'Pro- 
phetical Books,'  and  an  alleged  key  to  their  inter- 
pretation. 

Among  devotees  of  Blake  on  his  occult  side  a 
hope  is  still  indulged  that  more  of  these  "  Pro- 
phetical Books  "  may  come  to  light.  It  is  known 
that  Blake  left  a  hundred  volumes  ready  for  pub- 
lication, and  that  Tatham,  an  "angel''  of  the 
Irvingite  church,  to  whom  Mrs.  Blake  made  over 
the  manuscripts,  spent  two  days  in  burning  his 
heretical  legacy.  The  search  for  survivors  of  the 
bonfire  is  not  quite  hopeless ;  but  meanwhile 
Blake's  cause  is  far  better  served  by  the  frequent 
re-publication  of  his  saner  works.  Among  recent 
examples  of  these  may  be  noted  the  reproductions 
of  some  of  the  Dante  drawings  in  the  now  defunct 
'Savoy'  magazine  (London,  1896);  the  illustra- 
tions in  Dr.  Richard  Samette's  '  William  Blake  : 
Painter  and  Poet'  (London,  1897);  two  volumes 
containing  respectively  all  Blake's  woodcuts  and 
the  whole  of  the  '  Job '  engravings  (London,  1902), 
142 


and  numerous  facsimile  copies  of  characteristic 
pages  in  '  Songs  of  Innocence '  and  '  Songs  of 
Experience.' 

A  remarkable  sale  of  choice  original  productions 
by  Blake,  the  property  of  the  Earl  of  Crewe, 
took  place  in  March  1903,  when  very  high  prices 
were  obtained  for  many  of  the  rarities  then  first 
offered.  Amongst  the  items  were  the  twentj'- 
one  original  illustrations  for  the  Book  of  Job, 
the  unpublished  drawings  for  '  L'Allegro '  and  '  II 
Penseroso,'  and  the  original  coloured  issues  of 
'America,'  'Jerusalem,'  'The  Marriage  of  Heaven 
and  Hell,'  'The  Song  of  Los,'  and  the  'Songs 
of  Innocence,'  as  well  as  all  the  rarest  of  the 
books.  ^  J  0. 

BLANC,  Horace  le.    See  Le  Blanc. 

BLANC,  LuDwiG  Ajimt,  a  painter  of  portraits 
and  mediffivai  genre,  was  bom  at  Berlin,  August  9, 
1810.  In  1829  he  entered  the  Berlin  Academy 
schools,  and  in  1834  removed  to  Diisseldorf,  where 
he  studied  under  Julius  Htibner.  From  1840  to 
1842  he  worked  at  Hanover,  painting  portraits  of 
members  of  the  reigning  family,  and  other  persons 
of  note,  and  in  1845-7  he  was  similarly  employed 
at  Darmstadt  In  1857  he  visited  France  and 
England.  He  died  in  April  1885.  There  is  a 
picture  by  him  in  the  Berlin  National  Gallery. 

BLANCHARD,  Auguste  Jean  Baptiste  Maeie, 
a  French  line-engraver,  was  bom  in  Paris  in  1792, 
and  died  there  in  1849.  He  was  the  pupil  of  his 
father,  Augusta  Blanchard,  and  engraved,  among 
other  works :  ■ 

Madonna  and    Child  with    St.   John ;    after   Bmtord.  % 
(Agnado  Gallery.)  ^ 

The  Oath  of  the  Horatii ;  after  David. 
Daphnis  and  Chloe ;  after  Albrier. 
The  Entry  of  Henry  VT.  into  Paris ;  after  Gerard. 
Elizabeth  of  Bourbon,  Queen  of  Spain  ;  after  Buiens. 
Josephine,  Empress  of  the  French  ;  after  Prud'hon. 

BLANCHARD,  Edouabd  Th6ophile,  a  French 
subject  and  portrait  painter,  was  bom  in  Paris  in 
1844.  He  studied  under  Picot  and  Cabanel,  and 
obtained  the  Prix  de  Rome  in  1868.  With  his 
friend  Regnault  he  became  a  volunteer  in  1870, 
and  fought  against  the  Germans.  His  works  were 
awarded  medals  in  1872  and  1874.  He  died  in 
1879.     The  following  are  amongst  his  works : 

A  Courtesan.    1872. 

Hylas  and  the  Nymphs.    1874. 

Herodias.     1874. 

Cortigiana.     1875. 

The  Bufioon.    1878. 

BLANCHARD,  Gabriel,  known  as  '  Blanchard 
LE  NEVEU,'  the  only  son  of  Jacques  Blanchard,  was 
bom  in  Paris  in  1630,  and  studied  under  his  uncle, 
Jean  Baptiste  Blanchard.  He  was,  in  1663,  elected 
Academician  on  the  merits  of  an  allegorical  paint- 
ing of  the  '  Birth  of  Louis  XIV.,'  now  at  Versailles  ; 
but  his  most  successful  work  was  a  picture  of  St 
Andrew,'  which  he  painted  for  the  Goldsmiths' 
Guild.  He  became  keeper  of  the  royal  collection, 
and  successively  assistant-professor,  professor,  and, 
in  1699,  treasurer  of  the  Academy.  He  died  in 
1704.  Two  of  his  sons,  Nicolas  and  Philippe 
Thomas,  were  Ukewise  painters. 

BLANCHARD,  He.\bi  Pierre  L6on  Phara- 
MOND,  an  historical  and  landscape  painter,  was 
born  at  La  Gmllotiere,  a  suburb  of  Lyons,  in  1805. 
He  studied  under  Baron  Gros,  travelled  in  many 
distant  countries,  and  went  with  the  French  expedi- 
tion to  Mexico  in  the  years  1858  and  1859.  In  1856 
he  was  in  Russia,  and  was  present  at  the  coronation 


PAINTERS  AND  ENGRAVERS. 


of  Alexander  II.     He  died  in  Paris  in  1873.     The 
following  are  some  of  his  principal  works : 

BnU-Honting. 

The  Smugglers.     1836. 

The  Disarmament  of  Vera  Cruz.   1840.   {At  Versailles.) 

The  Street  of  El  Alari  at  Tangiers. 

San  Isidoro  Labrador,  the  Patron  Saint  of  Madrid. 

Vasco  Nunez  de  Balboa  discovering  the  South  Sea. 

(Parts  Univ.  Exhib.  1855.) 
The  Valley  of  Jehoshaphat.   (Paris  Univ.  Exhib.  1855.) 
The  Arrival  of  the  French  at  Plan-del-Kio.    1865. 
Farm  Yard  at  Chatou. 
The  Djiguietofka. 
An  American  Glade. 

He  also  contributed  largely  to  the  '  Illustration,' 
and  in  1855  published  '  L'ltin^raire  Historique  et 
Descriptlf  de  Paris  k  Constantinople  '  (12  plates). 

BLANCHARD,  Jacques,  an  eminent .  French 
painter,  was  born  in  Paris  in  1600.  His  first  in- 
structor in  the  art  was  Nicolas  Bollery,  his  ma- 
ternal uncle  ;  but  when  about  twenty  years  of  age 
he  spent  four  years  at  Lyons,  studying  under 
Horace  le  Blanc,  and  then  went  to  Italy,  and 
passed  two  years  at  Rome.  He  returned  by  way 
of  Venice,  and  was  so  struck  with  the  beautiful 
colouring  of  the  great  Venetian  masters,  especially 
Titian,  that  he  was  induced  to  remain  two  years 
in  that  city.  On  his  return  to  Paris  he  executed, 
as  a  reception  picture  into  the  Guild  of  St.  Luke, 
a  '  St.  John  on  the  Isle  of  Patmos,'  which,  with 
others  of  his  works,  was  greatly  admired.  He  was 
the  first  to  establish  a  true  and  natural  style  of 
colouring,  in  which  the  artists  of  his  country  were 
very  deficient,  though  he  scarcely  merited  the  name 
of  the  '  French  Titian,'  which  was  given  to  him 
by  his  contemporaries.  His  chief  works  at  Paris 
were  the  two  pictures  he  painted  for  Notre-Dame, 
one  representing  'St.  Andrew  kneeling  before  the 
Cross,'  the  other  the  '  Descent  of  the  Holy  Ghost,' 
executed  in  1634;  in  the  gallery  of  the  H6tel  de 
Bouillon,  now  fallen  into  ruin,  he  painted  thirteen 
large  pictures  of  subjects  from  Ovid.  The  Louvre 
contains  four  works  of  his — two  of  the  '  Holy 
Family,'  a  '  Charity,'  and  a  '  St.  Paul  in  Medita- 
tion,' but  they  are  all  of  small  size :  it  has  not  one 
of  the  large  pictures  which  established  his  fame 
as  a  colourist.  Although  now  almost  forgotten, 
his  reputation  was  great,  and  in  many  respects 
well  deserved.     He  died  in  Paris  in  1638. 

Blanchard  etched  some  plates  from  his  own 
designs  and  those  of  others,  among  which  are 
the  following : 

The  Holy  Family ;  without  his  name  ;  Chez  Huart. 
The  Holy  Family,  with  St.  Catharine  and  St.  John ; 

Chet  dartres. 
St.  Agnes  adoring  the  Infant  Jesus  in  the  arms  of  the 

Virgin  Mary;    after    Lodovico    Carracci;    without 

name. 

BLANCHARD,  Jean  Baptiste,  known  as  '  Blan- 
chard l'oncle,'  an  historical  painter,  was  born  in 
Paris  in  1595.  He  studied  under  Nicolas  Bollery, 
his  maternal  uncle,  and  in  1624  accompanied  his 
brother  Jacques  to  Rome.  He  became  an  Acade- 
mician in  1663,  and  died  in  Paris  in  1665.  No 
record  of  his  works  exists. 

BLANCHARD,  Laurent,  a  French  historical 
and  portrait  painter,  was  born  at  Valence,  in  the 
department  of  Dr6me,  and  died  in  Paris  in  1819. 
He  exhibited,  amongst  other  works  : 

The  Marriage  of  Hercules  with  Hebe.     1804. 
Telemachus  on  the  Island  of  Calypso.     1812. 
Venus  complaining  to  Jupiter.     1812. 
St.  John  preaching  in  the  Wilderness.     1812. 
A  Holy  FamUy.    1819. 


BLANCHARD,  Thomas  Marie  Auguste,  en- 
graver, bom  in  Paris,  May  18,  1819.  He  was  a 
pupil  of  his  father  and  gained  the  second  prize  for 
engraving  at  the  Institute.  He  devoted  himself 
mainly  to  the  reproduction  of  the  masterpieces  of 
the  modern  school.  He  gained  a  third-class  medal  in 
1843,  a  second-class  medal  in  1847,  and  a  first-class 
in  1857.  He  also  secured  a  third-class  medal  at  the 
Universal  Exhibition  of  1867,  and  a  second-class 
medal  at  the  Universal  Exhibition  of  1878.  He 
was  a  member  of  the  Academie  des  Beaux  Arts, 
succeeding  Alphonse  Fran5ois  on  November  17, 
1888.  He  was  a  Chevalier  of  the  Legion  of 
Honour.  His  principal  works  were  'The  Repose 
in  Egypt '  after  Bouchot,  '  The  Angel  Gabriel '  and 
'  Head  of  Christ '  after  Paul  Delaroche,  '  Faust 
and  Marguerite '  after  SohefEer,  Frith's  '  Derby 
Day,'  and  others  after  Meissonnier,  Tadema,  etc. 
He  died  in  1898  at  the  great  age  of  ninety-eight. 

P.P. 

BLANCHERI,  Vittoeio.    See  Blanseri. 

BLANCHET,  Thomas,  a  French  historical  and 
portrait  painter,  was  born  in  Paris  in  1617,  accord- 
ing to  D'Argenville,  although  the  registers  of  the 
Academy  would  place  his  birth  in  1629.  His 
genius  at  first  directed  him  to  sculpture,  but  after 
studying  that  art  for  some  time  under  Sarrassin, 
he  was  advised  to  abandon  it,  on  account  of  the 
delicacy  of  his  constitution,  and  to  apply  himself 
to  painting.  After  receiving  lessons  from  Poussin, 
whose  friend  he  became,  he  went  to  Rome,  and 
frequented  the  studio  of  Albani,  without  adopting 
his  style.  He  had  also  the  advantage  of  study- 
ing under  Andrea  Sacchi,  by  whose  instruction  he 
much  benefited.  After  passing  some  years  in 
Italy,  one  of  his  friends  took  him  to  Lyons,  where 
he  settled ;  but  he  often  visited  Paris,  where  he 
painted,  in  1662,  for  the  cathedral  of  Notre-Dame, 
'  The  Ecstasy  of  St.  Philip,'  now  in  the  Louvre. 
He  executed  for  the  Hotel  de  Ville  of  Lyons  some 
considerable  works,  which  established  his  reputation 
as  one  of  the  ablest  historical  painters  of  his  country, 
but  these  were  almost  entirely  destroyed  by  fire  in 
1674.  He  was  admitted  into  the  Academy  as  a 
portrait  painter  in  1676,  and  as  an  historical 
painter  in  1682,  on  which  occasion  he  painted  for 
his  picture  of  reception  'Cadmus  killing  the 
Dragon,'  now  in  the  Louvre.  He  founded  the 
Academy  at  Lyons  in  1681,  and  died  in  that  city 
in  1689. 

BLANCUS,  Christoph,  an  engraver,  supposed 
to  be  a  native  of  Germany,  flourished  about  the 
year  1600.  He  engraved  a  few  plates  in  the 
manner  of  Jan  Mtiller,  but  with  not  much  success. 
We  have  by  him  : 

A  Holy  Family,  accompanied  by  Angels ;  half-length ; 
after  Spranger.     1596, 

The  Portrait  of  Michelangelo  Buonarroti.     1612. 

BLANCDS,  Johannes  Padlus,  (or  Bianchi,) 
according  to  Heineken,  flourished  about  the  year 
1682.  We  have  some  etchings  by  him,  which  are 
executed  in  a  heavy,  indifferent  style.  Among 
others  are  an  emblematical  print,  after  C.  Stores, 
inscribed,  lo.  Paul.  Blancus  incid.,  and  '  Christ 
praying  in  the  Garden,'  without  the  name  of  the 
painter,  dated  1682. 

BLANES,  Benito  RODRIGUEZ.  See  Rodri- 
guez Blanes. 

BLANKERHOF,  Jan  Tednisz,  called  also  Jan 
Maat,  a  Dutch  painter  of  sea-pieces,  was  bom  at 
Alkmaar  in  1628.  He  learned  the  first  rudiments 
of  the  art  from  Amold  Teerlink,  a  painter  of  no 

143 


A  BIOGRAPHICAL  DICTIONARY  OF 


reputation,  and  became  afterwards  a  scholar  of 
Cesar  van  Everdingen.  On  leaving  that  master 
he  went  to  Italy,  and  passed  some  time  at  Rome, 
where  the  Flemish  Society  of  Painters  conferred 
on  him  the  name  of  Maat"(or  comrade).  He  also 
spent  some  time  in  Candia.  He  was  living  in 
1674,  but  the  date  of  his  death  is  not  known.  His 
best  pictures,  in  which  he  combined  the  truth  and 
nature  of  the  Dutch  school  with  the  grand  scenery 
of  Italy,  represent  storms  on  the  coast  of  the 
Mediterranean.  The  Brussels  Museum  and_  the 
Schleissheim  Gallery  contain  each  a  good  specimen 
of  his  art. 

BLANSERI,  VlTTOBio,  (or  Blancheki,)  was  bom 
at  Venice,  about  1735,  and  was  educated  in  the 
school  of  the  Cavaliere  Claudio  Beaumont.  He  is 
considered  his  ablest  scholar,  and  succeeded  him  in 
the  service  of  the  court  of  Turin,  in  which  city  are 
his  principal  works.  Three  of  his  pictures  are  in 
the  church  of  San  Pelagio,  one  of  which,  represent- 
ing '  St.  Louis  fainting,  supported  by  an  angel,'  is 
particularly  admired.     He  died  in  1775. 

BLARENBERGHE,  Henei  Bismi  van,  a  French 
painter  in  water-colours,  born  at  Lille  in  1734,  was 
the  son  of  Jacqdes  Gdillaume  van  Blareneerghe, 
a  painter,  who  died  in  1742.  His  works  are  dis- 
tinguished by  the  charm  of  their  composition  and 
the  delicacy  of  their  execution,  and  are  much 
sought  after  by  collectors.  He  excelled  in  subjects 
in  miniature  painted  upon  snufE-boxes,  bonbon- 
nieres,  and  rings,  many  of  which  have  realized 
high  prices  when  sold  by  public  auction.  At  the 
DeraidofE  sale  in  1863,  a  snuff-box  in  gold,  painted 
with  a  view  of  the  chSteau  of  Bellevue,  sold  for 
11,000  francs.  There  are  drawings  by  him  in  the 
Louvre,  and  some  views  of  European  capitals 
painted  in  oil  at  Versailles.  Blarenberghe  died  in 
Paris  in  1812.  He  had  a  son,  Louis  Nicolas,  who 
imitated  his  style  so  well  that  it  is  impossible  to 
distinguish  their  unsigned  works.  The  dates  of 
his  birth  and  death  are  unknown. 

BLASCO,  Matias,  was  a  painter  of  merit  at  Val- 
ladolid  early  in  the  reign  of  Philip  IV.  His  style 
was  simple  and  natural,  and  his  colouring  pleasing. 
He  painted  for  the  church  of  San  Lorenzo  at  Valla- 
dolid  a  '  Martyrdom  of  St.  Lawrence  '  which  bears 
his  signature  and  the  date  1621.  He  also  painted 
four  pictures  of  miracles  wrought  by  a  favourite 
Virgin  of  the  same  church. 

BLEAVIT,  — .  This  artist  is  mentioned  by 
Strutt  as  an  engraver  of  portraits.  Among 
others,  he  engraved  that  of  Ben^  Descartes,  the 
philosopher. 

BLECHEN,  Kabl  Edtjabd  Ferdinand,  landscape 
painter,  was  bom  at  Kottbus  in  1798.  Although 
his  inclination  for  art  developed  itself  very  early, 
he  first,  in  1812,  entered  a  banker's  business.  He 
next  occupied  himself  as  a  decorative  painter.  In 
the  easel-pieces  of  his  earlier  period  the  influence 
of  the  Dutch  painters  manifests  itself  in  a  power- 
ful observation  of  nature  in  his  technical  treat- 
ment ;  in  his  conception,  however,  an  uncommon 
fantastic  disposition  is  noticeable — at  times  in- 
clining to  the  melancholj',  at  times  to  the  romantic. 
A  journey  now  undertaken  to  Italy  disclosed  to 
him  his  taste  for  pure  art,  and  now  at  length  he 
displayed  in  his  pictures  and  sketches  a  keen 
insight,  astonishing  for  his  time,  into  the  true 
characteristic  of  light  and  atmosphere  in  Italian 
landscape.  At  this  period  of  his  painting  his 
former  fantastic  nature  is  only  occasionally 
noticeable.  In  1830  he  was  made  teacher  of  the 
144 


landscape  class  at  the  Berlin  Academy,  and  he  may 
be  looked  upon  as  the  founder  of  the  modem 
Berlin  school  of  landscape,  in  virtue  especially  of 
his  more  important  Italian  pictures.  He  died  in 
1840  at  Berlin.  In  the  Museum  there  is  a  '  View 
of  Tivoli  ; '  and  the  majority  of  his  water-colour 
drawings  and  sketches  are  now  in  the  Eoyal 
Collection  of  engravings  there. 

BLEECK,  Pietee  van,  a  Dutch  portrait  painter, 
and  the  son  of  Richard  van  Bleeck,  painter  of 
portraits,  was  bom  at  the  Hague  in  1695.  He  went 
to  London  in  1723,  was  much  emploj'ed,  and  died 
there  in  1764.  He  engraved  several  plates  in 
mezzotint,  which,  without  any  superior  excellency, 
are  clearly  scraped,  and  have  considerable  merit 
He  sometimes  marked  his  plates  with  the  TJIJ 
annexed  monogram.     We  have  by  him  .  fiD 

Richard   van  Bleeck,  painter;    se  ipse  pinx.  P.  van 

Ble4ck  junior,  fee,     1735. 
Bembrandt  van  Bijn ;  se  ipse  pinx.  Van  Bleedc.  1727 ; 

with  the  cipher. 
Fran9ois  du  Quesnoy,  called  Fiammingo,  Sctdptor;  A. 

van  Dt/ck  pinx.    P.  V.B.I,  f.    1751. 
Nell  Gwyn ;  after  Lely. 
Mrs.  Olive,  in  "the  character  of  FhiUids ;  P.  ran  Bleedc 

fee.    1735. 
Mrs.  Gibber,  in  the  character  of  Cordelia ;  the  same. 
Griffin  and  Johnson,  in  the  characters  of  Tribulation 

and  Ananias  ;  the  same. 
The  Virgin  Mary  and  Infant;  after  A.  van  der  Werf. 

1T48. 

BLEECKER.  Several  painters  of  this  name 
flourished  at  Haarlem  during  the  17th  century. 
The  name  is  found  in  various  forms — Bleecker, 
Bleeker,  Bliecker,  Blieker,  Blecker,  and  Bleker. 
The  following  are  the  most  important : 

BLEECKER,  Dirk,  was  a  native  of  Haarlem,  and 
flourished  in  the  17th  century.  In  the  Gallery  at 
Brunswick  is  an  excellent  portrait,  which  is  sup- 
posed to  be  his  own,  painted  by  himself,  and  dated 
1617.  He  lived  as  late  as  1652,  the  date  of  a 
painting  by  him  of  '  Mary  Magdalene.' 

BLEECKER,  Geerit  Claesz,  who  died  at  Haar- 
lem in  1656,  distinguished  himself  there  as  a 
painter  of  landscapes  and  figures. 

BLEECKER,  Jan  Gaspab,  was  bom  at  Haarlem 
in  1608.  He  was  a  painter,  but  is  more  especially 
known  by  his  engra'i'ings,  which  are  rather  scarce. 
The  Brunswick  Gallery  has  a  painting  of  '  St.  Paul 
and  St.  Barnabas '  by  him.  He  etched  several 
plates,  both  from  his  own  designs  and  after  other 
masters,  executed  in  a  slight  and  spirited  style,  of 
which  the  following  are  the  principal : 

SUBJECTS    FROM    HIS    OWN   DESIGNS. 

A  Landscape,  with  Jacob  and  Eachel. 

A  Landscape,  with  Bebekah  and  the  servantof  Abraham. 

A  Peasant  and  a  Woman  riding  in  a  waggon. 

A  similar  subject. 

A  Landscape,  with  a  carriage  at  the  door  of  an  inn.  1643 

A  Landscape,  with  a  woman  milking  a  cow,  and  a 

peasant.    1643 
A  Landscape,  with  cattle. 
A  Landscape,  with  a  woman  on  horseback. 
A  Landscape,  with  figures  on  horseback. 
A  Landscape,  with  a  shepherd  watching  his  flock. 

SUBJECTS    FROM    COBNELIS    POELENBUEG,    IN   THE 

STYLE    OF    BEMBRANDT. 
Jacob  and  Laban  dividing  their  flocks  ;  J.  G.  Blecker. 

aq.fort.     1638. 
The  Lystrians  wishing  to  sacrifice  to  Paul  and  Barnabas ; 

same  mark.     163S. 
The  Crucifixion ;  C.  P.  pinx.  I.  C.  B. 

BLEEK,  PiETER  VAN.    See  Bleeck. 
BLEKERS,  NoRBERT,  a  Dutch  painter,  was  born 


PAINTERS  AND  ENGEAVEES. 


at  Haarlem  about  1635.  He  painted  history,  and 
was  patronized  by  the  Prince  of  Orange,  for  whom 
he  painted  one  of  his  best  pictures,  representing 
the  '  Triumph  of  Venus.'  Vondel,  a  poet  of  his 
country,  has  celebrated  the  worlds  of  this  painter. 
He  died  at  Haarlem  in  1682. 

BLES,  David,  Dutch  painter,  born  at  the  Hague 
on  September  19,  1821.  Studied  historical  painting 
under  Cornelis  Kruseman.  He  went  to  Paris  at 
the  age  of  twenty,  where  he  stayed  several  years, 
visiting  England  and  Belgium.  His  pictures  were 
imbued  with  a  somewhat  melancholy  and  satirical 
liumour.  He  figured  at  the  Paris  Exhibition  of 
1855  with  four  pictures  which  attracted  attention  ; 
two  of  these, '  Le  Directeur  des  Femmes  '  and  '  Un 
jeune  manage  et  la  vieille  tante,'  were  inspired  by 
the  satires  of  Boileau.  He  also  contributed  to  the 
Exhibition  of  1878,  when  he  was  decorated  with 
the  Legion  of  Honour,  besides  several  foreign 
orders.  His  death  occurred  at  the  Hague  towards 
the  end  of  1899.  p_  p. 

BLES,  Hendrik,  commonly  called  Herri  met 
UE  Bles  (with  the  forelock),  was  born  at  Bouvignes 
ibout  1480.  He  imitated  the  style  of  Joachim 
Patenier,  under  whom  he  is  supposed  to  have 
studied  at  Antwerp,  and  painted  in  the  stiff  and 
Iry  manner  of  his  time.  He  generally  introduced 
nto  his  landscapes  scriptural  subjects,  with  a 
lumber  of  neatly  drawn  figures.  Instead  of  mark- 
ng  his  works  with  his  name,  he  usually  painted  an 
)wl  in  one  of  the  comers,  for  which  reason  the 
Italians  nicknamed  him  'Civetta.'  He  died  at 
Li^e  about  1550  (the  Berlin  Gallery  Catalogue 
lays  "after  1521 ").  His  pictures  are  very  curious, 
md  much  esteemed     We  note  the  following : 

Berlin.  Museum.  Portrait  of  a  Young  Man. 

Florence.  Uffizi,  Landscape  with  ruin, 

London.  JV^at.  Gall.  Christ  on  the  Cross. 

„  „  The  Magdalen. 

Modena.  -S".  Pietro.  Pieta. 

Munich.  PinaJcothek.  Adoration  of  the  Kings. 

I    Venice.  Accademia.  Tower  of  Babel. 

BLESENDOEF,  Constantin  Friedrich,  the 
)rother  of  Samuel  Blesendorf,  was  bom  at  Berlin 
n  1675.  He  was  a  miniature  painter  in  water- 
:olour  and  oil,  and  an  engraver,  and  worked  chiefly 
or  the  booksellers.  He  died  in  1754.  We  have 
)y  him : 

A  Frontispiece  for  Julian's  Opera ;  S.  Blesendorf  inv. 

C.  F.  Blesendorf  fee . 
Frontispiece  for  Beyer's  Thesaurus  Antiquitatum  ;  F.  C. 

Blesendorf  fee. 
Portrait  of  Frederick  'William,  Elector  of  Brandenburg 

1688. 

BLESENDORF,  Samuel,  a  Pmssian  enamel 
lainter  and  engraver,  was  bom  at  Berlin  in  1670. 
le  designed  and  engraved  several  portraits  for 
'ufEendorf's  'History  of  Sweden.'  He  worked 
hiefly  with  the  graver,  and  his  plates  are  very 
eatly  finished.  He  died  in  1706.  Among  others 
7e  have  by  him : 

Charles  XI.,  King  of  Sweden. 

Charles  XII. 

Frederick  Rudolph  Louis,  Baron  of  Canitz. 

Samuel,  Baron  of  Puffendorf. 

Frederick  III.,  Elector  of  Brandenburg.     1696. 

Frederick  William,  Prince  Electoral. 

Frederick  William  ;  after  Adam  de  Clerc. 

The  Portraits  of  John  Frederick  of  Brandenburg,  Mai- 
grave  of  Anspach,  and  the  Margravine,  in  a  garden  ; 
after  Gasp.  Netscher.     1682  ;  very  fine. 

BLEYSWYCK,  F.  van,  a  Dutch  engraver,  who 
lonrished  atLeyden  from  about  1720  to  1746.   He 


I 


engraved  many  portraits  for  the  publications  of  his 
time,  which  are  highly  finished,  but  without  much 
taste.  Among  these  are  some  of  the  plates  for  Hof- 
man's  '  Portraits  historiques  des  Hommes  illustres 
de  Dannemark,'  dated  1746.  He  also  engraved 
some  small  landscapes,  in  which  the  point  and  the 
graver  are  handled  with  great  delicacy. 

BLICKE.     See  Bliek. 

BLIECKER  (or  Blieker).     See  Bleeckee. 

BLIEK,  Daniel  van,  (or  Blicke,)  was  a  good 
painter  of  interiors  and  exteriors  of  churches  and 
other  public  buildings ;  he  lived  at  Middelburg 
from  about  1650  to  1661.  His  manner  of  painting 
resembles  that  of  Van  Vliet.  The  Berlin  Museum 
has  the  Interior  of  a  Church,  by  him,  signed  and 
dated  1653. 

BLIN,  FBANgois,  a  French  landscape  painter, 
who  was  born  at  Rennes  in  1827,  studied  under 
Picot,  and  exhibited  at  the  Salon  from  1852  to 
1866,  in  which  year  he  died  in  his  native  town. 
His  paintings  were  often  of  a  gloomy  character, 
but  showed  a  close  study  of  nature.  The  follow- 
ing are  the  best  : 

Kuins  of  the  Castle  at  Guildo  ;  in  the  Lille  Museum. 

The  Old  Mill  at  Guildo. 

A  Summer  Evening  at  Sologne. 

BLINKVLIET,  M.  The  exact  time  when  this 
painter  flourished  is  unknown ;  but  he  imitated 
Berchem  so  successfully  that  his  works  have  been 
ascribed  to  that  master :  probably  they  were  con- 
temporaries. 

BLOCH,  Charles  Henry,  Danish  painter,  bom 
at  Copenhagen  May  23,  18.34.  At  the  age  of 
fifteen  he  left  the  school  of  Marine  Cadets  for  that 
of  the  Beaux  Arts,  w^ere  he  carried  off  all  the 
prizes.  In  1859  he  gained  a  scholarship  for  Rome, 
where,  with  the  exception  of  a  brief  interval,  he 
resided  until  1866.  He  became  a  member  of  the 
Academy  of  Copenhagen,  and  Professor  at  the 
school  of  Beaux  Arts  there.  His  pictures  are 
chiefly  remarkable  for  their  facile  technique  and 
genuine  dramatic  effect.  He  excelled  in  portray- 
ing the  semi-comic  side  of  Italian  convent  life, 
but  at  times  gained  an  unenviable  notoriety  by 
his  too  free  treatment  of  sacred  ceremonies.  He 
gained  a  first-class  medal  and  decoration  of  tlje 
Legion  of  Honour  at  the  Universal  Exliibition  of 
1878.  He  painted  two  pictures  for  the  Oratory  of 
Fredericksborg,  entitled  '  Visit  of  Mary  to  Eliza- 
beth '  and  '  Jesus  Christ  Healing  a  Blind  Man.'  His 
death  took  place  at  Copenhagen  on  February  22, 
1890.  p  p 

BLOCHOM.    See  Lochom. 

BLOCK,  Benjamin,  the  son  of  Daniel  Block,  was 
born  at  Liibeck  in  1631.  He  was  instructed  in 
art  by  his  father,  and  proved  a  reputable  painter 
of  history  and  portraits.  The  Prince  of  Mecklen- 
burg, in  whose  service  his  father  passed  a  great  part 
of  his  life,  took  him  under  his  protection,  and  sent 
him  to  Italy  for  improvement.  He  visited  Rome, 
Naples,  and  Venice,  and  met  with  employment  as 
a  portrait  painter  in  each  of  those  cities.  On  his 
return  from  Italy  he  was  invited  to  the  court  of 
Saxony,  where  he  painted  portraits  of  the  electoral 
family  and  the  principal  courtiers.  He  died  at 
Ratisbon  about  1690.  His  historical  works  were 
altar-pieces  for  the  churches  in  different  parts  of 
Germany.  He  was  also  a  good  engraver.  The 
following  portraits  are  his  best  plates : 

Friedrich  Wilhelm,  Elector  of  Brandenburg. 

Marquard  Schenk  von  Castell. 

Wilhelm  Ludwig,  Duke  of  Wiirtemberg. 

145 


A  BIOGRAPHICAL  DICTIONARY  OF 


BLOCK,  Daniel,  a  painter  of  portraits,  was  bom 
at  Stettin,  in  Pomerania,  in  1680.  He  was  a  scholar 
of  Jakob  Scherer,  a  portrait  painter  of  reputation, 
under  whom  he  soon  became  proficient ;  and  he 
ultimately  surpassed  his  instructor.  He  was  em- 
ployed at  the  courts  of  Denmark  and  Sweden,  and 
passed  many  years  in  the  service  of  the  Duke  of 
Mecklenburg.  By  the  exertion  of  very  reputable 
talents  he  gained  a  large  fortune,  of  which  he  was 
deprived  by  plunder.     He  died  in  1661. 

BLOCK,  Jacob  Eogeb,  a  Dutch  painter,  was  bom 
at  Gouda  in  1580.  He  went  to  Italy  when  he  was 
very  young,  and  applied  himself  particularly  to 
the  study  of  architecture  and  perspective.  He 
made  designs  of  the  fine  remains  of  antiquity  in 
the  environs  of  Rome,  and,  on  his  return  to 
Holland,  painted  some  pictures  composed  from 
those  subjects,  which  were  highly  esteemed.  Hou- 
braken  reports  that  Rubens,  in  a  journey  he  made 
through  Holland,  visited  this  artist,  and  on  seeing 
his  works,  pronounced  him  the  ablest  painter  of 
his  country  in  the  subjects  he  represented.  He 
also  excelled  in  military  architecture,  and  was 
taken  into  the  service  of  the  Archduke  Leopold, 
whom  he  accompanied  in  some  of  his  campaigns. 
He  was  killed  by  a  fall  from  his  horse  in  1632. 

BLOCKLANDT,  Antonis  van.    See  Montfoobt. 

BLOEM,  A.,  was  a  native  of  Germany,  and 
resided  at  Vienna  in  the  seventeenth  century.  He 
was  chiefly  employed  by  the  booksellers.  He  en- 
graved the  portraits,  views,  battles,  &c.  for  a  book 
entitled  '  Istoria  di  Leopoldo  Cesare,'  published 
at  Vienna  in  1674.  The  plates  are  etched,  and 
finished  ^vith  the  graver. 

BLOEM,  M.,  is  the  author  of  a  picture  of  '  Dead 
Game,'  in  the  Hermitage,  St.  Petersburg,  which 
bears  his  name  and  the  date  1653  ;  another  picture 
of  still-life  in  the  same  gallery  is  also  attributed  to 
him.     No  details  of  his  life  are  recorded. 

BLOEMAERT,  Abraham,  a  Dutch  painter  and 
engraver,  was  born  at  Gorcum  about  1564.  He  was 
the  son  of  an  architect  and  sculptor,  who  placed 
him  under  the  tuition  of  Joost  de  Beer,  but  he 
seems  to  have  profited  most  by  studying  and  copy- 
ing the  works  of  Frans  Floris.  In  1581  he  went 
to  Paris,  where  he  stayed  three  years,  studying 
under  Jean  Bassot  and  Herry,  two  unimportant 
painters.  On  his  return  to  his  native  country  he 
studied  at  Herenthals  under  Hieronymus  Francken. 
He  subsequently  painted  at  Amsterdam  and  at 
Utrecht,  where  he  died  about  1658.  He  painted 
history  and  landscapes,  allegory,  mythology,  ani- 
mals, and  flowers,  and  was  a  very  productive  artist. 
His  colouring  is  excellent,  but  his  drawing  is  very 
defective,  and  frequently  negligent.  The  following 
are  his  best  works : 

Berlin.  Museum.  Joseph's  Dream. 

Copenhagen.  Gallery.    The  children  of  Niobe  killed  by 

the  arrows  of  Apollo   {painted 

for     the      Emperor     Rudolph. 

Signed). 
„  „  Hercules    and  Omphale;   Venas 

and  Adonis. 
Hague.  Gallery.    Hippomenes  receiving  the  prize 

{signed  and  dated  1626). 
„  „  The  Marriage  of  Peleus  {signed 

and  dated  1638). 
Mvmich.         Finakothek.'RsSsiig  of  Lazarus  {dated  1607  ; 

one  of  his  best  works). 
Paris.  Louvre,      i^ativity  {signed  and  dated  1612). 

Utrecht.         Gallery.    Adoration  of  the  Kings. 

Bloemaert   numbers    among    his    scholars    his 
four  sons,  and  Jan  Gerritsen  Cuj-p,  Gerard   and 
14G 


M'^illem  van   Honthorst,  Jan  and   Andries   Both, 
Cornelis  van  Poelenburg,  and  Jan  Baptist  Weenix. 

As  an  engraver,  he  has  a  claim  to  considerable 
attention.  We  have  by  him  a  number  of  plates 
etched  in  a  free,  bold,  and  masterly  manner,  some 
of  which  are  in  imitation  of  pen-drawings.  But 
his  most  esteemed  prints  are  those  executed  in 
chiaroscuro,  the  outlines  of  which,  contrary  to  the 
usual  process,  are  not  cut  on  the  blocks  of  wood, 
but  are  etched  on  copper.  These  are  very  spirited, 
and  produce  a  good  effect.  His  prints  are  some-  \ 
times  signed  vnth  his  name  at  full  length,  but 
more  frequently  marked  Ab.  Bl.  in.,  or  A.  Bl.,  or 
thus,  A.Bloem. 

The  following  are  his  principal  prints : 

ETCHINGS   BY   A.    BLOEMAEBT. 
St.  John,  with  a  lamb. 
The  Magdalene  penitent 
St.  Peter  penitent. 

The  H0I7  Family  ;  J.  Starterus  exc.    1593. 
Juno. 
Four  Landscapes,  with  figures  and  animals. 

PRINTS    IN  CHIABOSOUBO. 
Moses  and  Aaron. 
The  Virgin  and  Infant  Jesus. 
The  Holy  Family. 

Two  Busts,  the  Virgin  Mary  and  St.  Joseph. 
St.  Simon,  with  the  Instrument  of  his  martyrdom. 
The  Magdalene,  with  a  crucifix. 
St.  Jerome  reading  ;  A .  Bio. 

Another  St.  Jerome ;  after  Parmigiano  ;  marked  F.  P. 
A  naked  Infant ;  after  Titian. 
A  Woman  with  a  veil ;  after  Parmigiano. 

BLOEMAERT,  Adbiaan,  was  the  fourth  son  of 
Abraham  Bloemaert,  and  received  his  first  instruc- 
tion from  his  father.  He  was  sent  to  Italy,  where 
he  studied  some  time.  He  afterwards  visited 
Vienna,  where  he  met  \vith  employment,  and  ulti- 
mately settled  at  Salzburg,  and  was  killed  in  a 
duel  in  1668.  He  painted  history  and  portraits  with 
some  success.  Heineken  attributes  to  this  artist 
several  plates  of  portraits,  although  they  are 
without  his  name. 

BLOEilAERT,  Cornelis,  a  very  eminent  en- 
graver, the  third  son  of  Abraham  Bloemaert,  was 
bom  at  Utrecht  in  1603.  He  was  instructed  by 
his  father  in  the  first  principles  of  design,  and 
from  a  natural  inclination  for  engraving,  he  de- 
voted himself  entirely  to  that  art.  His  first  master 
was  Crispyn  van  de  Passe,  and  it  was  not  long  before 
he  surpassed  his  instructor.  In  1630  he  went  to 
Paris,  where  he  distinguished  himself  by  some 
plates  he  engraved  for  the  '  Temple  of  the  Muses.' 
From  Paris  he  went  to  Rome,  where  he  fixed  his 
residence,  and  where  he  lived  the  greater  part  of 
his  life.  He  died  there  in  1680.  This  admirable 
artist  distinguished  himself  not  only  by  the  beauty 
of  his  graver,  but  by  a  talent,  unknown  before 
him,  of  effecting  an  insensible  gradation  from  his 
lights  to  his  shadows,  and  introducing  a  delicate 
variety  of  tints,  in  the  different  distances  in  his 
subject.  Previous  to  his  time  there  was  a  great 
inattention  to  harmony,  the  lights  being  left  in- 
discriminately clear,  so  that  the  picture  was  ren- 
dered spotty  and  incongruous.  By  this  essential 
improvement  he  has  established  his  claim  to  origin- 
ality, and  may  be  said  to  have  given  birth  to  that 
admirable  style  which  was  afterwards  so  success- 
fully followed  by  the  great  engravers  of  the 
French  school,  Audran,  Baudet,  Picart,  and  Poillv. 
His  works  are  universally  admired ;  they  are 
numerous,  and  several  of  them  are  become  very 
scarce.     Some  of  his  prints  are  marked  C.  Bl.  and 


PAINTERS  AND  ENGRAVERS. 


or  (J.  Bio.     The  following  are 


others  Corn.  Bio., 
the  principal : 

SUBJECTS  FROM    HIS    OWN    DESIGNS. 
Fianciecus  Bonisignus,  secretary  to  Prince  Leopold  ; 

C.Bl. 
Giovanni  Battista  Toretti,  Florentine ;  Rome. 
P.  de  Grebber ;  P.  Haarlem  consec. ;  C.  Bio.  sc. 
J.  Doens,  Scot.  Tbeol. 
Jacques  Faverau  ;  after  IHepenteeck ;  oval. 
Moses  in  the  Bulrushes. 

T/ie  Virgin  Mary,  and  the  Infant  Jesus  caressing  her. 
A  Thesis,  with  three  of  the  Popes  in  niches. 
A  Frontispiece,  where  St.  Ignatius  is  presented  with  a 

Map. 

SUBJECTS    AFTER    ABRAHAM    BLOEMAERT. 
Bartholomeus  Aribertus,  liber  Baro  Malgrati. 
Athanasius  Kircher,  Jesuit. 
Cardinal  Francesco  Peretti  di  Moutalto. 
The  Tomb  of  D.  Nomi. 

The  Virgin  Mary,  with  the  Infant  Jesus  sleeping. 
The  Infant  Jesus,  with  a  Glory. 
The  Assumption  of  the  Virgin  ;  fine  composition. 
St.  Jerome  in  the  Desert. 
The  Four  Doctors  of  the   Church  disputing  on  the 

Sacrament. 
St.  Francis  kneeling  before  the  Infant  Christ. 
Christ  carrying  His  Cross,  and  St.  Ignatius  ;  very  fine. 
Avarice,  an  old  Woman  counting  money  by  candlehght. 
Liberality,  a  yoxmg  Woman  giving  drink  to  a  child. 
An  old  Woman  warming  her  hands  at  a  stove. 
A  half-length  figure  playing  the  Eomel-pot,  called  the 

Mustard  Grinder. 
Four,  called  Travellers  reposing. 
Two  landscapes,  in  one  a  woman  with  a  basket,  sitting 

xmder  a  tree,  and  in  the  other,  a  woman  sitting ;  fine 

and  scarce. 
Thirteen,  the  twelve  Months  of  the   Year,  and  the 

Zodiac. 
A  Cat,  with  a  Rat  under  her  paws ;  fine.    There  are 

many  copies  of  this  plate. 
The  great  Owl,  with  a  pair  of  spectacles  and  a  book. 

SUBJECTS    AFTER    ITALIAN    MASTERS,    ETC. 
The  Virgin,  with  the  Infant  seated  on  a  throne,  with 

St.  Eoch  and  St.  Sebastian  ;  after  Baroccio. 
The  Holy  Family,  with  St.  Joseph  with  Spectacles ; 

after  Carracci. 
The  Crucifixion  ;  after  the  same. 
St.  Margaret ;  after  the  same. 
The  Nativity ;  after  Fietro  da  Cortona. 
The  Virgin  and  Infant  Jesus,  with  St.  Martha  holding 

the  Palm  of  Martyrdom  ;  after  the  same. 
The  Birth  of  Christ ;  after  Schiavone. 
The  Genius  of  Poetry  distributing  wreaths  ;  a  circular 

plate. 
St.  John  in  the  Wilderness ;   Videns  Joannes,  (^c. ;  after 

Ciro  Ferri. 
Christ  at  table  with  His  Disciples ;  after  the  same. 
The  Eesurrection  ;  after  the  same. 
St.  Paul  preaching  at  Athens  ;  after  the  same. 
The  Holy  Family,  with  St.  Francis  kneeling ;  after  the 

same. 
St.   Anthony  of    Padua  kneeUng  before   the    Infant 

Jesus  ;  after  the  same. 
St.  Peter  raising  Tabitha  from  the  dead  ;  after  Guer- 

cino;  extremely  fine.     The  most  capital  plate  of  this 

master. 
The  Virgin  Mary  adoring  the  Infant  Jesus  sleeping  ; 

after  Guido. 
The  Annunciation  ;  after  Lanfranco  ;  inscribed  SpiT^tus 

sanctus,  Sfc. 
St.  Luke  painting  the  Virgin  and  Infant ;  after  Raphael. 
The  Adoration  of  the  Shepherds ;  after  the  same. 
The  Holy  Family  ;  after  Parmiyiano. 
The  Resurrection  ;  after  Paolo  Veronese. 
The  Virgin  and  Infant  Christ ;  after  Titian. 

BLOEMAERT,  Frederie,  the  second  son  of 
Abraham  Bloemaert,  was  born  at  Utrecht  about  the 
year  1600,  and  distinguished  himself  as  an  en- 
graver. He  learned  the  art  from  his  father,  and 
was  chiefly  occupied  in  engraving  after  his  designs. 


We  have  a  number  of  etchings  by  him  as  vrell 
aa  prints  in  chiaroscuro.  His  principal  work  was 
a  drawing-book,  containing  173  plates,  engraved 
from  the  designs  of  his  father.  He  also  executed 
a  few  plates  entirely  with  the  graver.  His  prints 
are  sometimes  signed  A.  Bloem.  inv.  F.  B.  filius 
fecit,  and  sometimes  F.  B.  The  following  are 
principally  after  his  father's  designs  : 

Twelve  of  the  Archbishops  and  Bishops  of  Utrecht, 
two  of  which  are  by  Corn.  Bloemart, 

Thomas  a  Kempis. 

St.  Francis  in  a  Hermitage. 

The  Body  of  Leander  on  the  sea-shore. 

A  set  of  sixteen  figures  of  Men  and  Women  ;  marked 
F.  B.fec. 

A  set  of  thirty,  of  Beggars ;  on  the  title  is  inscribed 
Nudus  inops  mutilus,  F.  B.  fee. 

The  Five  Senses. 

The  Four  Seasons. 

Twenty  Landscapes  ;  F.  B.fllius  fecit  et  exc. 

A  Landscape,  with  a  Pigeon-house. 

Fourteen  of  Animals  and  Birds ;  entitled   Verscheydt 
Besten  und  Vogelen. 

Four  of  Cock-fighting  ;  De  JSanabijters. 

BLOEMAERT,  Hendrik,  was  the  eldest  son  of 
Abraham  Bloemaert.  He  painted  portraits,  but 
never  rose  above  mediocrity.  He  died  in  1647.  A 
portrait  of  a  man  signed  Bloemaert  jEtatis  50, 
A.  1643,  in  the  Hermitage  at  St.  Petersburg,  is 
attributed  to  him. 

BLOEMEN,  Jan  Frans  van,  called  Obizonte, 
was  born  at  Antwerp  in  1662.  His  pictures  bear 
no  resemblance  to  the  taste  of  his  country,  which 
may  be  accounted  for  by  his  having  visited  Italy 
when  he  was  very  young,  and  having  there  passed 
the  remainder  of  his  life.  He  there  studied  under 
Antonius  Goubau.  He  died  at  Rome  in  1740  (?). 
The  name  of  Orizonte  was  given  him  by  the  Society 
of  Flemings  at  Rome  on  account  of  the  beauty 
and  delicacy  with  which  he  painted  the  distances 
in  his  landscapes.  His  works  are  well  known  in 
this  country,  and  are  justly  esteemed.  Inferior  to 
Gaspard  Poussin,  he  may  still  be  ranked  among  the 
able  painters  of  landscape.  He  made  choice  of 
the  most  interesting  views  in  the  vicinity  of  Rome 
and  Tivoli,  which  he  represented  with  great  truth 
and  even  grandeur.  In  his  forms,  as  well  as  in  his 
touch,  he  appears  to  have  imitated  the  fine  style  of 
Gaspard  Poussin,  and  in  some  of  his  best  pictures 
(for  he  is  very  unequal)  he  has  approached  the 
picturesque  beauty  of  that  admirable  painter.  He 
was  also  influenced  by  Claude  Lorrain.  There  is 
scarcely  a  palace  at  Rome  that  is  not  ornamented 
with  some  of  his  works.  His  best  pictures  are  in 
the  pontifical  palace  at  Monte  Cavallo,  and  in  the 
Colonna,  Doria,  and  Rospigliosi  palaces.  The 
Louvre  has  six  landscapes  by  him,  the  Vienna 
Gallery  three,  the  Hermitage  St.  Petersburg  three, 
the  Berlin  Museum  one,  the  Milan  Gallery  one, 
and  the  Dresden  Gallery  one.  He  etched  five 
plates  of  views  near  Rome,  executed  in  a  bold 
and  masterly  style. 

BLOEMEN,  Nobbert  van,  called  Cephalus,  the 
youngest  of  the  three  brothers,  was  bom  at  Ant- 
werp in  1670.  He  studied  and  painted  portraits 
and  conversation-pieces  in  Rome,  and  afterwards 
returned  to  his  native  country  and  settled  at 
Amsterdam,  where  he  died  in  1746. 

BLOEMEN,  Pieter  van,  called  Standaart,  or 
Stendardo  (Standard),  a  brother  of  Jan  Frans 
van  Bloenien,  was  born  at  Antwerp  in  1657. 
Following  the  example  of  his  brother,  he  went  to 
Italy  for  improvement.  The  name  of  Standaart 
was  given  him  by  his  countrymen  at  Rome  from 

147 


A  BIOGRAPHICAL  DICTIONARY  OF 


his  occasionally  painting  attacks  of  cavalry.  After 
passing  some  years  in  Italy  he  returned  to  Flan- 
ders with  the  studies  he  had  made  from  the 
objects  worthy  of  notice  in  the  neighbourhood  of 
Rome.  In  1699  he  was  made  director  of  the 
Academy  at  Antwerp  ;  he  died  there  in  1719.  The 
pictures  of  this  master  represent  battles,  the  march 
of  caravans,  horse-fairs,  &c.,  ingeniously  composed, 
with  a  number  of  figures,  horses,  and  other  animals, 
extremely  well  drawn,  and  painted  with  uncommon 
freedom  and  spirit.  He  decorated  his  landscapes 
with  the  ruins  of  architecture  and  statues  from 
the  studies  he  had  made  in  Italy,  and  his  figures 
are  designed  in  a  superior  style  to  the  usual  taste 
of  his  country.  The  Dresden  Gallery  has  six  pic- 
tures by  him,  the  Vienna  Gallery  two,  the  Frank- 
fort two,  the  Hermitage  St.  Petersburg  one,  and 
the  Copenhagen  one.  He  etched  some  of  his  own 
works. 

BLOEMERS,  Arnoldus,  bom  at  Amsterdam  in 
1792,  painted  flowers,  fruit,  and  animals.  He 
was  instructed  by  Antonie  Piera,  but  principally 
imitated  Van  Huijsum.  He  died  at  the  Hague  in 
1844.  The  Rotterdam  Gallery  has  a  flower-piece 
by  him. 

BLOIS,  Abraham  de.    See  De  Blois. 

BLOK,  Anna  C.    See  Fischer. 

BLOK.  Johanna.     See  Koerten. 

BLOKLANDT,  Antoxis  van.     See  Montfoobt. 

BLOMBERG,  August  Gotthold  Dietrich  Hugo, 
Baron  von.  a  poet  and  painter,  was  born  at  Berlin 
in  1820.  He  studied  under  Wach  in  the  Academy 
at  Berlin,  and  under  L^on  Cogniet  at  Paris,  and 
copied  Rubens's  works  in  the  Louvre.  He  died  at 
Weimar  in  1871.  Among  his  paintings  may  be 
mentioned : 

'  Das  Domroschen.'     1844. 
Keptune  and  AmyTnone.    1847. 
Twenty-seven  sketches  from  Dante. 
A  Town  of  the  Middle- Ages. 
The  Merchant  of  Venice.     1866. 
Benvenuto  Cellini  in  Engelsberg. 
King  William  at  Koniggratz.     1867. 

BLOMMENDAAL,  Reteb  Jacobsz,  a  painter  of 
Haarlem,  entered  the  Guild  of  that  city  in  1662, 
and  died  there  in  1675.  Nothing  further  is  known 
of  him. 

BLOND,  Le  (or  Blon).     See  Le  Blond. 

BLONDEAU,  Jacques,  a  French  engraver,  was 
born  at  Langres  about  the  year  1639.  He  en- 
graved at  Rome  several  plates  after  the  Italian 
painters,  and  some  after  the  pictures  of  Pietro  da 
Cortona  in  the  Pitti  Palace  at  Florence.  He  seems 
to  have  imitated  the  style  of  Cornells  Bloemaert, 
but  he  never  in  any  way  equalled  that  fine  engraver. 
He  also  engraved  some  portraits,  without  putting 
his  name  on  the  plates.  We  have  by  him  the 
following : 

PORTRAITS. 

Cardinal  Francesco  Lorenzo  Erancati.     1681. 

Cardinal  Fortuna  Caraffa.     1686. 

Cardinal  Maximilian  Gandolfi.     1686. 

Cardinal  Opitius  Pallavicini. 

General  Enee.  Count  of  Caprara. 

Eene  d"Est,  Duke  of  Modena. 

John  George  III.,  Elector  of  Saxony. 

John  Sobieski,  King  of  Poland. 

Cardinal  Bichi ;  after  Bourgignon  ;  oval. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
The  Pulpit  of  St.  Peter ;  after  Bernini. 
The  Magdalene,  half  length  ;  afttr  Calandrucn. 
Ihe  Martyrdom  of  St   Laurence  :  after  Pietro  da  Cor- 
tona. 

148 


Eight  allegorical  subjects ;  from  the  pictures  by  Fidrt 
da  Cortona,  in  the  Pitti  Palace  ;  small  plates. 

The  Circumcision  ;  after  C.  Ferri. 

The  Crucifixion  ;  after  the  same. 

St.  Augustine  appearing  to  St.  Theresa;  after  iht 
same. 

BLONDEEL,  Lansloot,  or  Lancelot,  who  was 
bom  at  Bruges  about  1495,  was  originally  t 
mason,  on  which  account  he  took  a  trowel  as  his 
monogram.  He  did  not  turn  his  attention  towards 
art  until  he  was  twenty-five  years  of  age.  His 
pictures  display  a  study  of  the  Italian  style,  and  are 
noticeable  for  architectural  backgrounds.  Speci- 
mens are  in  the  churches  of  Bruges  and  elsewhere. 
A  '  Last  Judgment ',  in  the  Berlin  Gallery,  formerly 
given  to  him,  is  now  thought  to  be  possibly  by 
Jehan  Bellegambe.  Blondeel  designed  the  chim- 
ney-piece in  the  Council  Hall  at  Bruges,  which 
contains  statues  of  Charles  V.  and  other  monarchs. 
He  died  at  Bruges  in  1560. 

BLONDEL,  Jean  FRANgois,  a  French  architsct 
and  engraver,  was  bom  at  Rouen  in  1705.  He 
came  to  Paris  in  1739,  and  opened  a  school,  the 
fame  of  which  gained  him  admission  into  the 
Academy  in  1765.  He  published  a  description  of 
the  fetes  given  by  the  city  of  Paris  in  1740,  on 
the  marriage  of  Madame  Louise  Elizabeth  of 
France  with  Don  Philip,  Infant  of  Spain.  The 
plates,  representing  the  temporary  buildings,  fire- 
works, &c.,  are  chiefly  engraved  by  himself.  He 
also  etched  the  plates  for  some  large  volumes  on 
Architecture,  published  by  himself.  Blondel  died 
in  Paris  in  1774. 

BLONDEL,  Merey  Joseph,  a  French  historical 
painter,  was  born  in  Paris  in  1781.  He  was  a 
pupil  of  Regnault,  carried  off  the  grand  prize  in 
1803,  and  was  elected  a  member  of  the  Institute  in 
1832.  His  principal  works  are — '  Philip  Augustus 
at  Bouvines'  (1819),  painted  for  the  Duke  of 
Orleans  ;  '  The  Fall  of  Icarus,'  and  '  .^olus  letting 
loose  the  Winds  against  the  Trojan  Fleet ; '  the 
grand  staircase  of  the  Louvre,  the  ceiling  of  the 
hall  of  Henry  II.,  and  that  of  the  Grand  Hall,  in 
the  same  building ;  '  Justice  protecting  Commerce,' 
six  very  effective  bas-reliefs  in  grisaille  in  the 
Bourse  at  Paris ;  the  Gallery  of  Diana,  at  Fon- 
tainebleau  ;  '  Homer  at  Athens,'  and  '  Zenobia  on 
the  Shore  of  the  Araxes,'  formerly  in  the  Luxem- 
bourg ;  '  The  Surrender  of  Ptolemais  to  Philip 
Augustus,'  at  Versailles,  and  several  others.  He 
died  at  Paris  in  1853. 

BLOOT,  Pieteb  de.    See  De  Bloot. 

BLOOTELING,  Abraham,   (or  Blotelikg,)  a 
very  eminent  Dutch  designer  and   engraver,  was 
born  at  Amsterdam  in  1634.     From  the  style  of 
his  etchings  it  is  not  unlikely  that  he  was  brought 
up   under  the  Visschers.      On  the  inroad  of  thoj 
French  into  Holland  in  1672,  he  came  to  England,! 
where   he   met  with  encouragement,  but  did  not^ 
reside  here  longer  than  two  or  three  years.     Thi< 
laborious  artist  produced  a  great  number  of  etch-i 
ings,  some  plates  executed  with  the  graver,  an(r 
several  in  mezzotint.     In   1685  he   published  thai 
collection  of  gems  of  Leonardo  Agostini,  etche 
by  himself.      He   died    after    1698.      He   some 
times  signed  his  plates  with  his  name  at  lengthJ 
and  sometimes  marked  them  ^^'ith  a  cipher,  com-] 

posed  of  A   and  B,  thus    •-''±5  .     The  works  o^ 
this  engraver  are  sufficiently  interesting  to  excu 
our  giving  a  more  than  usually  detailed  list 
them: 


PAINTERS  AND  ENGRAVERS. 


ETCHINGS   AND  PLATES  WITH  THE  GRAVER. 
PORTRAITS. 
Xhomas  Sydenham,  Bishop  of  'Worcester;  after  Mrs 

Beali' 
John  'Wilkins,  Bishop  of  Chester ;  after  the  same. 
Anthony,  Earl  of  Shaftesbury ;  after  Greenhill.    One  of 

the  scarcest  prints  of  this  artist. 
Edward,  Earl  of  Sandwich  ;  after  Leiy. 
Edward,  Earl  of  Montagu  ;  after  the  same. 
James,  Duke  of  Monmouth  ;  after  the  same. 
Cornells  Tromp,  Admiral  of  Holland  ;  after  the  same 
Prince  Eupert ;  after  the  same.     1873. 
Aert  van  Nes,  Admiral  of  Holland  ;  L.  de  Jonghe  pin.v. 
Constantijn  Huygen  ;  after  Netscher. 
John  Henry  Thim  ;  A .  Utech  pinx. 
Jerome  de  Beverningh  ;  after  Vaillant. 
"Willem  van  Haren  ;  after  the  same.     1680. 
Egbert  Meesz  Kortenaer,  Admiral  of  Holland ;  Bart. 

van  der  Heist  jnrix. 
The  Marquis  de  Mirabelle  ;  after  Van  Dyclv. 
Ferdinand  de  Fiirstenberg,  Bishop  of  Paderbom ;   A . 

Blotelina  sc.  1669. 
Michel  Aoriaensz  de  Euyter,  Admiral ;   Bloteling  fee. 

aqua  forti. 
Sir  Thomas  More,  Lord  High  Chancellor. 
Edward  Stillingfleet,  Canon  of  St.  Paul's. 
Henry,  Duke  of  Norfolk.     1678. 
Jane,  Duchess  of  Norfolk.     1681. 
Augustus  Stellingwerf,  Admiral  of  Friesland. 
Comehs  de  Wit,  Vice  Admiral  of  Holland. 
Tierck  Hides  de  Fries,  Admiral  of  Friesland. 
ComeUs  Speelmau,  Vice  Admiral. 

VARIOUS   SUBJECTS   AFTER  HIS    OWN    DESIGNS 
AND   OTHER   MASTERS. 
Twelve  Views  of  Gardens ;  inscribed  Alcune  Vedute,  <^c. 
Eighteen  circular  plates  of  subjects  of  sacred  history, 

with  flowers  ;  A .  Bloteling  fee. 
A  Landscape,  with  Diana  bathing  ;  J.  van  Aeck  pinx.  ; 

A.  Bloteling  exc. 
A  Landscape,  with  AJpheus  and  Arethusa ;  the  same. 
Six  Views  of  the  Environs  of  Amsterdam  ;  Jac.  Kuis' 

dael  inv.  ;  A.  Bloteling  fee.     1670. 
Actseon  devoured  by  his  Dogs  ;  G.  Flink  pinx. 
A  Shepherd  playing  on  his  Pipe,  with  a  Shepherdess ; 

after  the  same. 
The  Golden  Age  ;  G.  Lairesse  jrinx. ;  N.  Visscher  exc. 
The  Marriage  of  St.  Catharine  ;  after  Raphael. 
Two  Heads  of  Children ;    after  Rubens ;   rare ;    some 

impressions  have  the  name  of  Rubens. 
The  Study  of  the  Head  of  a  Man ;  after  Rubens ;  A. 

Bloteling  fee.  et  exc. ;  rare. 
Four  Studies  of  Lions;  after  Rubens;  inscribed  Varia 

Leonum  IconeSy  a  P.  P. 
Two  Huntings  of  the  Boar  and  Stag ;  fine. 

PRISTS    IN    MEZZOTINT. 
PORTRAITS. 
.Justus  Lipsius  ;  A.  Bloteling  fee. 
Michelangelo  Buonarroti ;  A.  Bloteling  fee. 
Frans  Mieris,  painted  by  himself;  A .  Bloteling  fee. 
Jan  de  Wit,  Grand  Pensionary  of  Holland ;   after  Be 

Baan. 
Cornelis  de  Wit,  the  brother  of  Jan  ;  after  Be  Baan. 
Staverinus,  an  old  Jew,  holding  a  Medal :  Com.  Bega 

pinx. 
Titus  Gates ;  Hawker  pinx. 
Desiderius  Erasmus  ;  H.  Holbein  pinx.     1671. 
Henry  Bennet,  Earl  of  Arlington  ;  after  Lely  ;  oval. 
Charles,  Earl  of  Derby  ;  after  the  same. 
Abraham  Symmonds,  an  artist ;  after  the  same. 
Queen  Catharine  ;  after  the  same. 

William  Henry,  Prince  of  Orange  ;  after  the  same.    1678. 
Nell  Gwyn  ;  P.  Lely  pinx 

Mary  of  Modena,  Duchess  of  York  ;  after  the  same. 
Cornehs  Tromp,  Admiral  of  Holland  ;  after  the  same. 
Michiel  Adriensz  de  Euijter,  Admiral  of  Holland  ;   J. 

Lievens  pinx. 
The  Emperor  Leopold  I. ;  C.  Morad  pinx. 
Henry  Casimir,  Prince  of  Nassau  ;  M.  van  Muscher  pinx. 
Portrait  of  a  Venetian  Lady  ;  Titiano  inv. 
Constantijn  Huygens ;  B.  Valliant  pinx. 
32.11  de  Cronefeld  ;  after  the  same. 


VARIOUS   SUBJECTS    FROM   HIS   OWN  DESIGNS   AND 
OTHER    MASTERS. 

The  Five  Senses  ;  after  C.  Bega. 

The  Four  Ages ;  circular  ;  after  the  same. 

Hercules  destroying  the  monster  ;  G.  Lairesse  pinx, 

St.  Peter  penitent ;  after  P.  Moreels. 

A  Landscape,  with  mythological  figures ;  F.  de  Neve 

pin.v. 
The  Temptation  of  St.  Anthony  ;  Cam.  Procaccini pinx, 
A  Man  holding  a  glass  ;  Rostrate  pinx. 
Bust  of  a  Man  ;  circular. 

Bust  of  a  young  Man  crowned  with  laurels  ;  circular. 
Bust  of  Hippolyta ;  oval. 
Two  Heads,  with  Plu-ygian  and  Grecian  Head-dresses ; 

one  plate. 
The  Satyr,  and  a  Peasant ;  oval. 
Vanitas,  a  Cliild  blowing  bubbles. 
Abundance,  a  figure  sitting. 
The  head  of  a  Vestal,  crowned  with  roses. 
Small  bust  of  Jupiter  ;  circular. 
Small  bust  of  Venus  ;  same. 
Half  length  of  a  Boy  holding  a  Cat. 
Cupid  and  Psyche. 
A  Blind  Man  playing  on  the  Flute. 
Andromeda. 

BLOT,  Maurice,  a  French  line-engraver,  was  bom 
in  Paris  in  1754.  He  was  a  pupil  of  Augustin  de 
St.  Aubin,  and  engraved  some  portraits  and  fancy 
subjects  in  a  neat  style.  He  died  in  Paris  in  1818. 
We  have  by  bim  : 

L'Occupation  du  Mi5nage,  and  Companion  ;  after  Aubry. 
La   Promesse  de  Mariage,  and  Le  Verrou ;   after  Fra- 

gonard. 
Marcus  Sextus  ;  after  Guerin. 
Meditation ;  after  Guido. 
A  Boy  blowing  bubbles ;  after  F.  Mieris, 
Mars  and  Venus ;  after  N.  Poussin. 
La  Vierge  aux  Cand^labres ;  after  Raphael, 
Vanity  ;  after  Leonardo  da  Vinci. 
The  Judgment  of  Paris  ;  after  Van  der  Werf. 
The  Dauphin  and  Madame  Royal,  the  children  of  Louis 

XVI. ;  after  Madame  Le  Brun.     1786. 
Giovaimi  Angelo  Braschi,  Pope  Pius  VI.,  a  frontispiece 

for  the  Life  of  that  pontiff.     1799. 
Jupiter  and  lo  ;  after  Regnault  (Mus^e  Francais). 
Jupiter  and  Calisto  ;  after  the  same  (Musfie  Fran9ais). 
Andr6  Guillaume  de  G^ry,  abb6  of  St.  Genevieve ;  after 

himself. 

BLOTELING.     See  Blooteling. 

BLUNCK,  DiTLEV  Conrad,  who  was  bom  at 
Breitenburg,  near  Itzehoe,  in  1799,  studied  from 
1814  to  1827  in  the  Academy  of  Copenhagen,  under 
Eckersberg.  In  1828  he  went  to  Rome,  where  he 
spent  ten  years,  and  was  much  influenced  by  the 
style  of  Canstens.  On  his  return  from  Italy  he 
lived  at  Vienna  and  at  Hamburg,  where  he  died  in 
1853.     Among  his  best  works  are  the  following : 

Christian  IV.  at  Eothenburg.     1823. 
Elijah  raising  the  Widow's  Son  to  life.     1827. 
The  Four  Ages  of  Man. 
Manifestation   of  God   to  '\ 

Ezekiel.     1830.  \ In  the  Copenhagen  Gallery. 

The  Engraver  at  his  work-  (  r        ^  n 

table.     1826.  ] 

Noah  in  the  Ark  .  ,    \ln    the   Thorwaldsen    Mu- 

Thorwaldsen  with  Danish    ^     ,ev^m^  Copenhagen. 

Artists  in  a  Roman  Inn.  ;  >     r        ^ 

BLYHOOFT,  Zacharias,  a  Dutch  painter,  of 
whom  but  little  is  known ;  it  is  supposed  that  he 
lived  at  Middelburg  between  1625  and  1700.  Two 
pictures  by  him  are  noticed  in  the  Catalogues  of 
Hoet  and  Terwesten,  and,  in  regard  to  their  merit, 
compared  to  those  of  Netscher.  For  this  reason 
he  is  noticed  here,  as  many  pictures  are  ascribed  to 
Netscher  that  resemble  his  manner,  but  are  not  by 
him. 

149 


I 


A  BIOGRAPHICAL  DICTIONARY  OF 


BLYTH,  Robert,  an  English  engraver,  was  born 
in  1750.  We  have  some  spirited  etchings  by  him 
from  drawings  by  John  Hamilton  Mortimer,  A.R.A. 
He  led  a  careless  life,  and  committed  suicide  in 
1784.     The  following  are  his  best  plates : 

Three,  of  Studies ;  in  the  style  of  Sahator  Rosa  and 
De  Lairesse. 

Four  of  the  same,  with  inscriptions. 

Bust  of  an  Oriental  Chief.    1779 ;  oval. 

Bust  of  an  old  Man  ;  oval. 

Banditti  going  on  an  expedition.     1780. 

Banditti  returning  from  an  expedition.     1780. 

The  Captive.    1781. 

The  life  and  death  of  a  Soldier ;  four  plates. 

Fishermen. 

A  Nymph,  with  a  basket  of  flowers,  sitting  on  the  sea- 
shore, with  a  shepherd. 

Caius  Marius  reflecting  on  the  ruins  of  Carthage. 

Nebuchadnezzar  recovering  his  reason  ;  companion. 

Homer  reciting  his  Verses  to  the  Grecians. 

BOADEN,  John,  a  portrait  painter,  exhibited 
his  works  for  many  years,  between  1812  and  1838, 
at  the  Royal  Academy  and  the  Society  of  British 
Artists.  He  died  in  1839.  In  the  South  Kensing- 
ton Museum  is  a  portrait  of  the  Rev.  Chauncy 
Hare  Townshend  by  him. 

BOATERI,  Jacopo,  a  native  of  Bologna,  and  a 
pupil  of  Francia,  flourished  in  the  15th  century. 
He  is  known  as  the  author  of  a  '  Holy  Family,'  in 
the  Pitti  Palace,  Florence.  The  dates  of  his  birth 
and  death  are  alike  unrecorded. 

BOBA,  George,  a  painter  and  engraver  of  the 
16th  century,  known  by  the  name  of  MaItre 
Georges,  was  a  native  of  Rheims,  and  is  said  by 
some  to  have  been  a  disciple  of  Frans  Floris,  and 
by  others  of  Titian.  His  name  in  full,  or  included 
in  a  monogram  very  small,  is  found  on  some  etch- 
ings of  landscapes  \vith  historical  subjects,  after 
Primaticcio ;  Bartsch  gives  an  account  of  six  of 
them. 

BOBADILLA,  Geeonimo  de,  a  Spanish  painter, 
was  born  at  Antequera,  a  small  town  in  the  vicinity 
of  Seville,  in  1620.  According  to  Palomino  he  was 
a  scholar  of  Francisco  Zurbaran,  whose  manner  he 
followed.  He  excelled  in  painting  historical  sub- 
jects of  a  medium  size  and  perspective  views. 
He  used  a  peculiar  varnish  on  his  pictures, 
which  Murillo  compared  to  crj-stal.  He  was 
a  greiit  collector  of  academic  figures,  drawings, 
models,  and  sketches  of  celebrated  artists.  He  was 
one  of  the  founders  of  the  Academy  at  Seville 
in  1660,  and  continued  to  support  it  until  his  death, 
which  took  place  in  that  citj-  in  1680. 

BOBBIN,  Tim,  a  name  assumed  by  John  Collier, 
the  caricaturist.     See  Collier. 

BOCANEGBA,  Pedro  Atanasio,  a  Spanish 
painter,  was  born  at  Granada  in  1638.  He  was  a 
scholar  of  Alonso  Cano,  but,  according  to  Palomino, 
improved  himself  in  colouring  by  studying  the 
works  of  Pedro  de  Moya  and  X^an  Dyck.  In  the 
cloister  of  Nuestra  Seiiora  de  Gracia,  at  Granada, 
is  a  picture  by  him  of  the  '  Conception,'  and  at  the 
College  of  the  Jesuits  is  one  of  his  most  esteemed 
works,  representing  the  '  Conversion  of  St.  Paul.' 
He  died  at  Granada  in  1688.  He  was  vain  and 
arrogant,  and  boasted  his  superiority  to  all  the 
artists  of  his  time ;  but  on  being  challenged  to  a 
contest  of  ability  by  Mathias  de  Torres,  he  slunk 
from  the  trial,  and  left  Madrid.  His  works  were, 
however,  much  coveted,  and  no  collection  was 
considered  complete  without  a  specimen.  The 
'  Death  of  St.  Clara '  by  him  is  in  the  Hermitage, 
St,  Petersburg. 

150 


BOCCACCINO,  Boccaccio,  was  bom  at  Cremona, 
it  is  believed,  in  1460,  and  was  either  a  pupil  or 
co-disciple  of  Domenico  Panetti.  Influenced  by 
Mantegna,  he  became  a  celebrated  painter,  and 
executed  in  Sant'  Agostino,  at  Cremona,  several 
frescoes,  in  1497.  He  visited  Rome,  but  not  being 
successful  with  his  '  Coronation  of  the  Virgin,'  in 
Santa  Maria  Transpontina,  he  returned  to  Cremona. 
Some  of  his  works  bear  a  strong  resemblance  to 
those  of  Perugino,  particularl}'  his  '  Marriage  of 
the  Virgin,'  and  '  The  Madonna,  with  St.  Vincent 
and  St.  Anthony,'  in  the  church  of  San  Vincenzio  at 
Cremona,  which  have  been  frequently  regarded  as 
the  productions  of  Vannucci.  One  of  his  most 
admired  performances  is  a  frieze  in  the  cathedral 
at  Cremona,  where  he  has  represented  the  '  Birth 
of  the  Virgin,'  and  some  subjects  from  her  life, 
painted  in  1606 — 1518.  In  these  Lanzi  considers 
him  inferior  to  Perugino  in  composition,  less 
beautiful  in  the  airs  of  his  heads,  and  less  vigor- 
ous in  light  and  shadow,  but  richer  in  his  drapery, 
more  varied  in  colour,  more  spirited  in  his  attitudes, 
and  perhaps  not  less  harmonious  and  pleasing  in 
his  architecture  and  landscape.  Lanzi  observes  of 
this  painter,  that  he  was  the  best  modern  among 
the  ancients,  and  the  best  ancient  among  the 
moderns.  He  was  one  of  the  instructors  of  Ben- 
venuto  Garofalo.  His  works  extend  from  1496  to 
1518,  and  this  last  date  is  usually  given  as  the 
year  of  his  death ;  but  his  will  was  made  in  January, 
1525  (new  style),  and  an  inventorj'  of  the  pro- 
perty divided  among  his  heirs,  December  26th, 
1625.     The  following  are  some  of  his  best  works  : 

Cremona.       Cathedral,  Appearance   of    the    Angel    to 
Joachins.     1515. 
„  ,,  Meeting  of  Joachim  and  Anna 

„  „  Birth  of  the  Virgin.     1515. 

„  „  Marriage  of  the  Virgin. 

„  .,  The  Annunciation.     1508. 

„  „  The  Visitation. 

„  „  Adoration  of  the  Shepherds. 

,,  „  The  Circumcision. 

„  ,,  Christ  reasoning  with  the  Doc- 

tors.    1518. 
„  „  Christ  between  the  four  Patron 

Saints  of  Cremona.     1506. 
{All  the  ahove  are  frescoes, 
„  "S  Quirico,  Virgin  and  two  Saints.     1518. 

Ferrara.  PinacotecaJ)ea\.h  of  the  Virgin. 

Loudon.  Xat,  Gal,    Procession  to  Calvary. 

Paris.  Louvre,        Holy  Family. 

Veiii  f.  Acad,  Marriage  of  St.  Catharine. 

i'.  GtuWano.Virgin     and     Child     with    four 
Saints. 

BOCCACCINO,  Camillo,  the  son  of  Boccaccio 
Boccaccino,  was  born  at  Cremona  in  1511,  and  was 
brought  up  under  his  father.  Educated  in  the 
Gothic  maxims  of  Boccaccio,  and  only  permitted 
the  career  of  a  very  short  life,  he,  however,  formed 
to  himself  a  style  which  was  both  pleasing  and 
grand ;  and  he  was  considered  as  the  greatest 
genius  of  the  Cremonese  school.  In  1637  he 
painted  in  the  niches  of  the  cupola  of  San  Sigis- 
mondo  the  '  Four  Evangelists,'  so  much  in  the 
style  of  Correggio,  that  it  appears  almost  incredible 
that  a  young  man  of  twenty-six  years  of  age,  who 
had  never  frequented  the  school  of  that  painter, 
could  approach  so  near  to  the  greatness  of  Cor- 
reggio, both  in  the  intelligence  of  perspective  and 
in  foreshortening.  Two  other  works  of  this 
painter,  at  Cremona,  are  justly  admired  —  the 
'  Raising  of  Lazarus '  and  the  '  Adulteress  before 
Christ,'  surrounded  by  friezes  of  a  numerous  group 
of  Angels,  finely  composed,  and  designed  in  the 


PAINTERS  AND  ENGRAVERS. 


loftiest  style.    This   promising  artist  died  in  the 
prime  of  life,  in  1546. 

BOCCACCINO,  Francesco,  was  born  at  Cremona 
about  the  year  1680.  He  studied  at  Rome,  first 
under  Brandi,  and  afterwards  in  the  school  of 
Carlo  Maratti,  under  whom  he  acquired  a  pleasing 
manner  of  composing  and  painting  easel  pictures 
of  historical  subjects,  which  were  well  esteemed  in 
private  collections,  and  of  which  he  painted  more 
than  of  larger  works  for  the  churches.  He  some- 
times imitated  the  style  of  Albani,  and,  like  that 
painter,  he  was  fond  of  treating  mythological 
subjects.     He  died  in  1750. 

BOCCARDI,  Giovanni,  known  as  Maestro  Gio- 
vanni, was  a  miniature  painter  who  lived  at 
Florence  in  the  early  part  of  the  16th  century,  and 
who,  with  his  son  Francesco,  painted  (1507-23) 
a  number  of  the  choir-books  of  Monte  Cassino  and 
Perugia.  The  influence  of  the  school  of  Raphael 
was  noticeable  in  these  productions. 

BOCCATI,  Giovanni,  of  Camerino,  is  known  by 
a  picture — signed  and  dated  1447 — in  the  Gallery 
of  Perugia.  The  subject  is  '  The  Virgin  and  Child 
enthroned,  and  surrounded  by  Angels,  Seraphim, 
and  Saints.' 

BOCCHI,  Faustino,  was  bom,  according  to  Or- 
landi,  at  Brescia  in  1659.  He  was  a  scholar  of 
Angelo  Everardi,  called  II  Fiamminghino.  He 
chiefly  excelled  in  painting  battles  and  skirmishes 
of  cavalry,  which  he  composed  with  great  in- 
genuity, and  touched  with  a  spirited  pencil.  His 
figures,  though  on  a  small  scale,  are  correctly 
drawn,  and  his  landscapes  are  very  pleasing.  He 
died  in  1742. 

BOCCIARDO,  Clementb,  called  Clementone— 
according  to  Soprani,  from  the  prodigious  size  of 
his  person — was  bom  at  Genoa  in  1620.  He  was  a 
scholar  of  Bernardo  Strozzi,  and  accompanied  Bene- 
detto Castiglione  to  Rome,  where  he  studied  some 
time,  and  afterwards  visited  Florence,  where  he 
met  with  encouragement,  and  painted  his  portrait 
for  the  Florentine  Gallery.  It  is  engraved  in  the 
'  Museo  Fiorentino.'  His  principal  works  are  at  Pisa, 
of  which  Lanzi  distinguishes  his  '  Martyrdom  of  St. 
Sebastian,'  in  the  church  of  the  Carthusians.  More 
ingenious  in  his  compositions,  and  more  correct  in 
his  design,  than  Strozzi,  he  is  inferior  to  hira  in  the 
truth  and  purity  of  his  tints.     He  died  in  1658. 

BOCCIARDO,  DoMENico,  was  born  at  Finale, 
near  Genoa,  about  the  year  1686,  and  was  a  dis- 
ciple and  a  follower  of  the  style  of  Giov.  Maria 
Morandi.  Without  the  possession  of  much  inven- 
tion, he  was  a  correct  designer  and  an  agreeable 
colourist.  In  the  church  of  San  Paolo,  at  Genoa, 
is  a  picture  by  this  painter  of  St.  John  baptizing 
several  figures. 

BOCHOLT,  Franz  von,  a  German  engraver, 
who  flourished  from  1458  to  1480,  is  said  to  have 
been  a  shepherd  at  Mons,  in  Hainault ;  but  it  is 
more  probable  he  was  a  native  of  Bocholt,  a  small 
town  in  the  bishopric  of  Miinster.  His  prints, 
amounting  to  fifty-five,  are  chiefly  copies  after  the 
plates  of  Martin  Schongauer  and  Von  Meckenen, 
although  he  engraved  some  few  plates  from  his 
own  designs.  They  are  all  executed  in  a  laboured, 
BtifE  style,  and  are  generally  marked  F.  v.  B.  The 
following  are  by  him  : 

COPIES    FROM   MARTIN    SCHONGAUER. 

St.  Anthony  carried  into  the  air  by  demons 

St.  .Tames  reading 

St.  Michael  and  the  Dragon. 


COPIES   FROM   ISRAEI,   VON   MECKENEN. 
The  Judgment  of  Solomon. 
The  Annunciation. 
The  Virgin  and  Child ;  in  an  arch. 

SUBJECTS    FROM   HIS    OWN   DESIGNS. 
A  Friar  struggling  with  a  Girl,  who  defends  herself  with 

her  distaff. 
Samson  stranghng  the  Lion. 
Two  Men  quarrelling. 
St.  George  and  the  Dragon,  with '  Francis  van  Bocholt,' 

in  very  old  characters. 

BOCK,  Hans,  was  a  German  painter  of  the  16th 
century,  who  flourished  at  Basle,  where  he  executed, 
within  and  without  the  Rathhaus,  some  colossal 
frescoes,  which  render  his  name  famous.  The 
Rathhaus  also  possesses  a  painting  of  the  '  Calumny 
of  Apelles,'  by  him.  His  works,  though  mannered, 
display  much  power  and  energy. 

BOCKHORST,  Jan  van.     See  Boekhobst. 

BOCKHORST,  Johann  von,  called  Langen  Jan, 
was  born  at  Miinster  in  1610.  His  family  had  settled 
at  Antwerp  when  he  was  young,  and  he  became  a 
scholar  of  Jacob  Jordaens.  Under  that  able  in- 
structor he  became  a  very  distinguished  painter 
of  historical  subjects.  There  are  many  of  his 
pictures  in  the  churches  in  Flanders,  and  they  are 
deservedly  ranked  among  the  best  productions  of 
the  Flemish  school.  In  1633  lie  entered  the  Guild 
of  St.  Luke  at  Antwerp.  He  seems  to  have  taken 
the  works  of  Van  Dyck  as  his  model,  and  some 
of  his  best  pictures  are  so  much  in  the  styla  of 
that  admirable  painter  that  they  may  easily  be 
mistaken  for  his  works.  He  also  excelled  as  a 
portrait  painter;  many  of  his  portraits  are  only 
inferior  to  those  of  Van  Dyck.  He  died  in  1668. 
The  following  are  some  of  his  principal  works : 

.    .  f  Church  «f  Triptych — Resurrection :  Annun- 

werp.     I  Beguines.        ciation :  and  Ascension. 
„         St.  Augustin.  The   Empress    Helena   with   the 
true  Cross. 
Ghent.  St.  Jacques.  Martyrdom  of  St.  James. 

Lille.  Museum.     Martyrdom  of  St'  Maurice.   1661. 

Madrid.  Gallery.       Mercury. 

^,  „  Ulysses  in  female  attire  at  the 

Court  of  Lycomedes. 

BOCKLIN,  J.  C.  was  a  German  engraver,  who 
executed  a  set  of  British  portraits  for  a  German 
edition  of  the  '  History  of  England.'  They  are 
poorly  engraved,  and  the  whole  are  copied  from 
the  prints  by  White. 

BOOKMAN,  G.,was  a  mezzotint  engraver,  who, 
if  not  a  native  of  England,  resided  here  in  the  first 
half  of  the  18th  century.  He  appears  to  have 
been  also  a  painter,  as  he  engraved  a  plate  of  '  St. 
Dunstan  and  the  Devil,'  which  is  signed  with  his 
name,  with  the  addition  of  pinx.  et  sculp.,  1743. 
He  died  about  1768.  We  have  several  portraits 
by  him,  among  which  are  the  following  : 

■William  Augustus,  Duke  of  Cumberland ;  after  Van  Loo. 

Another  Portrait  of  the  same,  with  his  hat  on  ;  ad 
vivum.     1746. 

Mary,  fourth  Daughter  of  George  II.,  consort  of  Fred- 
erick II.,  of  Hesse  Cassel ;  after  J.  JVorsda/e. 

Philip  Yorke,  Earl  of  Hardwicke  ;  after  M.  Dahl. 

Thomas  Chubb,  the  Deist. 

BOOKMAN.  R.,  is  known  as  the  painter  of 
portraits  of  Nav.il  Heroes  at  Greenwich  Hospital 
and  Hampton  Court,  and  also  as  a  mezzotint 
engraver.     It  is  believed  that  he  died  about  1769. 

B0CKSBER6ER,  Hans,  (or  Bocksperger,)  born 
at  Salzburg  in  1540.  He  painted  battle-pieces, 
hunting-parties,  allegorical,  mythological,  and  his- 
torical subjects  ;  and  was  principally  occupied  with 

151      ■ 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  decorations  of  houses  at  Munich,  Augsburg, 
Ingolstadt,  Passau,  Ratisbon,  Landshut,  and  Salz- 
burg. As  a  wood-engraver  he  illustrated  the  fol- 
lowing : 

The  Bible  with  122  plates.    1565. 

Livy.     1573. 

Flavius  Josephus.     1565 — 1571. 

The  Book  of  Animals,  by  G.  Schaller.    1592. 

All  of  these  were  published  by  Feyerabend,  at  Frank- 
fort. Besides  these,  there  exist  by  him  several 
handsome  designs  for  armour. 

BOCQUET,  Nicolas,  a  French  engraver,  men- 
tioned by  Basan,  lived  about  the  year  1601.  There 
are  two  indifferent  prints  by  him : 

Adam  and  Eve  ;  after  Raphael. 

St.  Bruno  kneeling  before  a  Crucifix ;  after  Bon  ie 
Boullongne. 

BODART,  PlETEB,  a  native  of  Holland,  resided 
at  Leyden  about  the  year  1723.  His  prints  are 
little  known  in  England.  His  principal  work  is  a 
drawing-book,  entitled  "  Les  Principauz  f  ondements 
du  Dessein,"  published  at  Leyden  in  1723.  It  con- 
sists of  a  great  number  of  plates  of  heads,  hands, 
feet,  figures,  and  groups,  from  the  designs  of 
Gerard  Hoet.  They  are  chiefly  etched,  in  an 
indifferent  style. 

BODDINGTON,  Henry  John,  was  born  in  1811. 
He  was  one  of  the  sons  of  Edward  Williams,  of 
Barnes,  and  changed  his  name  because  so  many  of 
his  family  were  painters.  He  was  a  member  of 
the  Society  of  British  Artists,  and  a  constant  con- 
tributor to  their  exhibitions,  usually  sending  views 
on  the  Thames,  or  other  river  subjects.  He  also 
exhibited  at  the  Royal  Academy.  He  died  at 
Barnes  in  1865. 

BOdEKKER,  Johannes  Frederik,  a  Dutch 
portrait  painter,  was  born  at  Cleve  in  1660.  He 
was  a  scholar  of  Jan  de  Baan,  and  met  with  great 
encouragement  in  his  profession  at  Amsterdam 
and  the  Hague.  One  of  liis  best  productions  was 
the  half-length  portrait  of  Duke  Eberhard  Ludwig 
of  Wiirtemberg.  There  is  a  poorly-scraped  mezzo- 
tint by  this  artist  of  a  '  Boy  and  a  Girl,'  half- 
figures,  with  flowers,  after  his  master,  J.  de  Baan. 
He  died  at  Amsterdam  in  1737. 

BODEMER,  Jakob,  was  bom  in  1777  at  Not- 
tingen,  in  the  vicinity  of  Carlsruhe.  He  worked  at 
first  as  an  enamel  painter  in  Geneva,  but  in  1799 
entered  the  Academj'  of  Vienna,  and  devoted  him- 
self to  the  profession  of  enamel  portrait  paint- 
ing, and  brought  that  art  to  perfection  by  the 
inventi'on  of  a  glass-like  coating  to  the  pictures. 
He  died  at  Vienna  in  1824.  The  following  are 
specified  among  his  productions  : 

Mary  with  the  Child  Jesus  (in  possession  of  Prince  Zin- 

zendorf). 
Madoun'a  iu  Prayer  ;  after  Holbein  {Count  Czernin's). 
Cupid  ;  after  Paolo  Veronese. 
Portraits  of  the  Imperial  Family  of  Austria. 

BODENEHR,  Moritz,  engraver  to  the  court  at 
Dresden,  was  born  at  Freiburg  in  1665  and  died  at 
Dresden  in  1749.  He  engraved  a  suite  of  thirty- 
two  mythological  and  poetical  pieces  after  Samuel 
Bofschild,  which  were  published,  with  his  name,  in 
1693.  His  father,  Johann  Georg  Bodenehr,  was 
an  eminent  engraver,  who  was  born  in  1631,  and 
died  in  1704 ;  and  his  brothers,  Gabriel  and 
Georg  Conrad,  followed  the  same  profession. 
Their  sons  seem  to  have  continued  it,  for  the  name 
of  Bodenehr  is  found  to  a  late  period,  but  with 
no  particular  distinction.  There  was,  however,  a 
second  Johann  Georg  Bodenehb,  an  engraver  and 
152 


worker  in  mezzotint,  who  was  born  at  Dresden  in 
1691,  and  died  at  Augsburg  in  1730. 

BODERECHT,  Mabkus,  a  German  engraver  in 
mezzotint,  flourished  about  the  year  1739.  He 
was  chiefly  employed  in  portraits,  and  among 
others  engraved  that  of  Johann  Thomas  Banner, 
with  the  above  date. 

BODINIER,  Gulllaume,  a  French  historical  and 
portrait  painter,  was  born  at  Angers  in  1795.  He 
studied  at  Rome  under  the  direction  of  Pierre 
Gu^rin,  and  exhibited  at  the  Salon  from  1827  to 
1857.  After  a  long  residence  in  Rome  he  returned 
to  his  native  city,  where  he  became  director  of  the 
Museum,  and  died  in  1872.  His  best  work  is  the 
'  Angelus  in  the  Campagna  of  Rome,'  painted  in 

1836,  and  formerly  in  the  collection  of  the  Duke  of 
Orleans. 

BODMER,  Gottlieb,  born  at  Munich  in  1804, 
was  a  painter,  designer,  and  lithographer.  He  first 
painted  portraits  under  Stieler.  In  1829  he  drew 
upon  the  stone  the  celebrated  Madonna  di  San 
Sisto,  after  the  engraving  of  F.  Miiller,  and  after- 
wards two  paintings  after  H.  Hess,  viz., '  Christmas 
Eve,'  and  a  small  altar-piece,  fie  visited  Paris, 
and  died  at  Munich  in  1837.  The  following  are 
notable  works  : 

The  Dep.irture  of  King  Otto. 
King  Ludwig  I.  in  his  family  circle. 
The  Knight  and  his  Love  ;  after  Folti. 
The  Swiss  Grenadier  ;  after  Kirner. 

BOECE.     See  Boetius. 

BOEGLER,  Karl,  who  was  born  at  Munich  in 

1837,  practised  there  and  at  Wiesbaden  as  a 
painter  of  architecture  and  views.  He  died  in  his 
native  city  in  1866.  In  the  New  Pinakothek  at 
Munich  there  are  three  views  of  buildings,  dated 
1865,  by  him. 

BOEHMER,  Karl  Wilhelm,  was  a  painter  and 
engraver  of  Saxony.  He  was  brother-in-law  and 
scholar  of  Dietrich.  There  is  a  series  of  land- 
scapes and  marine  subjects  engraved  by  him, 
with  the  dates  1744  and  1754,  published  in  8vo 
and  12mo,  with  his  name  or  monogram.  The 
series  is  rare. 

BOEKEL,  —  VAN,  a  pupil  of  Frans  Snyders, 
painted  living  and  dead  animals.  He  died  in  Paris 
in  1673.  In  the  Louvre  there  is  a  picture  by  him 
of  a  man  with  dogs  and  game. 

BOEKHORST,  Jan  van,  (or  Bockhobst,)  who 
was  born  at  Deutekom  in  l661,  was  a  scholar  of 
Kneller.  He  passed  some  time  with  that  artist  in 
London,  and  painted  portraits  in  his  manner.  He 
also  painted  battle-pieces  and  some  historical  com- 
positions, which  are  rare.  He  returned  to  his  own 
country,  where  he  died  in  1724,  at  Cleve.  In  the 
castle  at  Stockholm  there  are  the  Four  Evangel- 
ists, and  an  Angel,  by  him  ;  and  in  the  Belvedere 
at  Vienni  a  'Nymph  surprised  by  Satyrs.' 

BOECKLIN,  Aknold,  the  Swiss  idealist  painter, 
was  born  in  1827  at  Basle.  At  the  age  of  eighteen 
he  was  sent  to  Dusseldorf,  where  he  studied  land- 
scape painting  under  Schirmer.  He  then  spent 
six  months  at  Brussels,  copying  the  Dutch  master- 
pieces there,  and  after  a  few  weeks  in  Calame's 
studio  at  Geneva,  he  went  to  Paris,  where  he  was  an 
eye-witness  of  the  revolution  of  1848.  His  mili- 
tary duties  recalled  him  to  Basle,  and  in  1850  he 
took  up  his  residence  in  Rome,  where  he  lived  for 
the  next  seven  years.  He  married  in  1853.  The 
scenery  of  the  Campagna  made  a  lasting  impression 
on  him,  and  much  of  his  time  was  spent  wandering 
about  the  country  and  observing  Nature  in  all  her 


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moods.  Boecklin  never  painted  direct  from  Nature, 
and  his  landscapes  represent  no  particular  spots, 
but  they  are  Italian  in  character  and  feeling,  and 
were  the  result  of  the  reminiscences  stored  up  in 
his  mind  during  these  first  years  in  Rome.  In  1859 
he  achieved  his  first  great  success  with  '  Pan 
among  the  Reeds,'  which  was  exhibited  at  tlie 
Art  Union  at  Munich,  and  bought  for  the  Pina- 
kothek.  At  Munich,  also,  Boecklin,  through  the 
medium  of  Paul  Heyse,  made  the  acquaintance 
of  Count  Schack,  for  whom,  during  the  next 
sixteen  years,  many  of  his  most  important  pictures 
were  painted.  In  the  following  year  he  was 
appointed  a  teacher  in  the  Academy  of  Art  at 
Weimar,  but  in  1862  he  again  went  to  Rome. 
It  was  during  this  sojourn  that  he  paid  a  visit  to 
Naples  and  Pouipeii,  where  the  antique  frescoes 
roused  his  enthusiasm  and  had  great  influence  on 
his  art.  Having  received  some  commissions  from 
his  native  town  he  returned  to  Basle  in  1866.  Here 
he  painted  a  series  of  frescoes  for  the  Garden 
House  of  Herr  Sarasin,  and  also  the  frescoes  over 
the  staircase  of  the  Museum.  From  1871  to  1874  he 
was  again  in  Munich,  but  his  works,  in  which,  for 
the  first  time,  he  introduced  those  creatures  of  his 
own  imagining  which  play  so  large  a  part  in  his 
later  pictures,  met  with  such  opposition  from  critics 
and  the  public  that  he  again  returned  to  Italy. 
With  the  exception  of  a  few  years  spent  at  Zuricli, 
he  lived  for  the  rest  of  his  life  at  Florence.  His 
health  gave  way  in  his  later  years,  and  he  died  on 
the  16th  of  January,  1901.  Boecklin's  paintings  are 
purely  ideal  conceptions.  They  bear  no  relation  to 
reality,  but  are  the  creation  of  the  artist's  fancy. 
He  never  painted  a  story  in  the  literary  or  historical 
sense,  but  used  figures  and  scenes  as  a  medium  for 
the  expression  of  his  emotions.  He  peopled  his 
ideal  landscapes  with  nymphs,  satyrs,  and  other 
mythological  figures,  or  with  wonderful  imaginary 
creatures,  in  which  he  gave  symbolical  shape  to  the 
spirit  of  Nature.  His  sea-pictures,  with  their  sport- 
ing Tritons,  Naiads,  and  Sea-centaurs,  best  exhibit 
the  extraordinary  brilliance  and  transparency  of  his 
colouring.  His  art  was  too  bold  and  too  original  to 
be  readily  accepted,  and  for  years  he  suifered  from 
most  severe  criticism.  It  was  not  until  the  time  of 
his  residence  at  Zurich  (1885-1892)  that  he  received 
due  recognition.  The  majority  of  his  pictures, 
many  of  which  exist  in  several  versions,  are  in 
private  hands.  The  Schack  Gallery,  Munich, 
possesses,  among  other  works : — '  Pan  startling 
a  Shepherd,'  '  The  Walk  to  Emmaus,'  '  Villa  by 
the  Sea,'  '  A  Rocky  Chasm,'  '  Old  Roman  Tavern,' 
'  Triton  and  Nereid.'  The  principal  pictures  in 
public  galleries  are  : 
Basle,  Jf«se«m, Centaurs  Fighting;  The  Sacred  Grove; 
Vita  Somnium  Breve.  Berlin,  National  Gallery, 
Mary  grieving  over  the  Body  of  Christ ;  The  Regions 
of  the  Blessed ;  The  Hermit ;  Sea-Breakers  ;  Portrait 
of  the  Artist.  Bremen,  Museum,  The  Adventurer. 
Breslau,  Nilesian  Museum,  The  Sanctuary  of  Hercules; 
Attack  by  Pirates.  Dresden,  Gallery,  Faun-family 
at  the  Fountain.  Leipzig,  Museum,  The  Island  of 
the  Dead;  Hymn  of  Spring. 

BOEL,  CoENELis,  a  Flemish  engraver,  was  bom 
at  Antwerp  about  the  year  1580.  He  worked 
chiefly  with  the  graver,  in  the  style  of  the  Sadelers, 
in  whose  school  it  is  probable  he  was  instructed. 
His  plates  are  executed  in  a  clear,  neat  style,  and 
possess  considerable  merit.  He  engraved  a  set  of 
oval  plates  for  the  '  Fables  of  Otto  Voenius,' 
published  at  Antwerp  in  1608.  His  most  con- 
siderable works  were   eight   large   plates   of  the 


battles  of  Charles  V.  and  Francis  I.,  executed  in 
conjunction  with  Jode  de  Gheyn,  the  younger,  after 
Tempesta.  He  was  probably  in  England,  as  ap- 
pears from  one  of  his  plates,  the  Frontispiece  to  a 
Bible,  published  by  the  royal  authority  in  1611, 
very  neatly  engraved,  which  is  signed  C.  Boel 
fecit,  in  Richmont,  1611.  We  have  also  by  him  a 
Portrait  of  Henry,  Prince  of  Wales,  an  oval  plate, 
with  an  ornamental  border ;  and  another  plate,  of 
'The  Last  Judgment,'  Cornelis  Boel  fecit,  without 
the  name  of  the  painter. 

BOEL,  CORYN,  the  son  of  Jan  Boel,  the  en- 
graver, was  born  at  Antwerp  in  1620.  He  en- 
graved several  of  the  plates  for  the  book  called 
'  Teniers's  Gallery,'  after  the  pictures  in  the  collec- 
tion of  the  Archduke  Leopold  William.  We  have 
also  some  etchings  by  him,  principally  after  the 
pictures  of  the  elder  Teniers,  representing  peasants 
regaling  and  merry-makings.  His  death  is  not 
recorded. 

BOEL,  Jan,  who  was  born  at  Antwerp  in  1592, 
was  free  of  the  Guild  of  Luke  in  1610,  married  in 
1619  and  had  nine  children — among  whom  were 
Coryn  and  Pieter.     He  practised  as  an  engraver. 

BOEL,  Jan  Baptist,  the  son  of  Pieter  Boel,  the 
engraver,  was  born  at  Antwerp  in  1650.  In  1674- 
75  he  was  admitted  as  a  master's  son  to  the  Guild 
of  St.  Luke,  and  died  in  1688-89.  In  the  Antwerp 
Museum  is  a  picture  called  '  Vanity,'  representing 
a  dead  swan,  with  a  peacock  and  flowers,  painted 
by  him  for  the  Guild  of  St.  Luke  in  1679-80. 

BOEL,  Pieter,  an  excellent  painter  of  animals, 
birds,  flowers,  and  fruit,  and  the  son  of  Jan  Boel, 
the  engraver,  was  born  at  Antwerp  in  1622,  and 
was  a  scholar  of  Frans  Snyders.  Desirous  of  im- 
provement, he  ..went  to  Italy,  where  his  works 
were  much  admired,  both  at  Rome  and  at  Genoa. 
On  his  return  to  Flanders  he  met  with  great  en- 
couragement. Four  of  his  best  pictures,  repre- 
senting the  Four  Elements,  are  in  a  private  col- 
lection at  Antwerp.  He  died  at  Paris  in  1674.  His 
touch  is  free  and  spirited,  and  his  colouring  natural. 
The  Munich  Gallery  has  a  picture  by  him  of  '  Two 
Dogs  guarding  dead  Game  ' ;  a  '  Boar  Hunt '  is  in 
the  Hague  Gallery,  and  the  Madrid  Gallery  has 
five  works  by  him  ;  a  picture  of  Still  Life  is  in  the 
Antwerp  Museum.  We  have  some  very  spirited 
etchings  by  Boel  of  various  animals,  and  a  set  of 
six  plates  of  birds  of  prey,  with  landscapes,  entitled 
'  Diversi  Uccelli  a  Petro  Boel.' 

BOETIUS,  Christian  FRiEnRicH,  (or  Boece,)  a 
German  engraver,  was  born  at  Leipsic  in  1706.  He 
was  a  pupil  of  Zink  and  C.  A.  Wartmann,  and 
resided  chiefly  at  Dresden,  where  he  was  made 
professor  of  the  Electoral  Academy  in  1764.  He 
engraved  several  of  the  plates  for  the  Dresden 
Gallery,  some  portraits,  and  various  other  subjects. 
He  died  at  Dresden  in  1782.  The  following  are 
among  his  best  prints  : 

Landscape  with  a  Monument ;  after  Breenhergh. 

La  Notte  ;  after  Corregyio. 

The   Meyer   Madonna ;    after   Holbein  {one  of  kis  best 

works). 
Landscape   with  a  Cow  and  Sheep ;    after  Karel  du 

Jardin. 
A  Woman  holding  a  Pot  with  Coals,  and  a  Boy  blowing ; 

after  Rubens. 
Sportsmen  at  the  Door  of  an  Inn  ;  after  Wouwerman. 
Interior  of  an  Inn  ;  after  T.  IVyck. 
The  Portrait  of  Boetius ;  in  imitation  of  a  chalk  draw- 

ing.     1771. 
Portrait  of  Charles  Hutin ;  the  same. 
Portrait  of  Raphael  Mengs ;  the  same. 
Portrait  of  J.  Casanova ;  the  same. 

153 


A  BIOGRAPHICAL  DICTIONARY  OF 


BOETTGER,  Johann  Gottlieb,  a  German  en- 
graver, was  bom  at  Dresden  in  1766.  He  was  a 
pupil  of  J.  G.  Schulz,  and  has  engraved  several 
plates  for  the  booksellers  and  others,  among  which 
we  have : 

Portrait  of  F.  TV.  B.  de  Ramdohr ;  after  Graaf. 
Calliope;  after  Angelica  Kaufnann. 
Ganymede;  after  Vogel. 
A  Vestal ;  after  the  same. 

BOTTNER,  WiLHELM,  who  was  born  at  Cassel 
in  1749,  and  died  in  1805,  is  represented  in  the 
gallery  of  his  native  town  by  a  picture  of  'Dsedalus 
and  Icarus.' 

BOETTO,  GiovENAL,  was,  according  to  Delia 
Valle,  a  Piedmontese,  and  flourished  at  Turin  from 
the  year  1642  till  1682.  He  distinguished  himself 
as  a  fresco  painter,  and  was  principally  empjoyed 
in  embellishing  the  palaces  and  public  edifices  at 
Turin  with  allegorical  subjects,  which  were  in- 
geniously composed,  and  designed  with  taste  and 
elegance.  Among  his  most  admired  works  are 
twelve  frescoes,  in  the  Casa  Garballi,  representing 
subjects  emblematical  of  the  Arts  and  Sciences. 
Lanzi  affirms  that  he  excelled  as  an  engraver,  but 
his  prints  are  not  specified. 

BOEYERMANS,  Theodore,  or  Dirk,  who  was 
born  at  Antwerp  in  1620,  was  a  follower  of  Van 
Dyck.  He  was  free  of  the  Guild  of  St.  Luke  in 
1654,  and  his  name  occurs  at  intervals  on  the 
registers  nntil  the  time  of  his  death,  which  took 
place  at  Antwerp  in  1677-78.  His  works — historical 
and  portraits — are  correctlj'  designed  and  agreeably 
coloured,  and  show  a  good  knowledge  of  chiaro- 
scuro.    Amongst  them  we  find  : 

Antwerp.     Musemn.      The  Ambassador. 

„  „  The    Pool    of    Bethesda.      1675 

T.  BOEIJERMANS  PINXIT. 

„  „  The  Visit  (signed). 

„  „  Antwerp  as  patroness  of  painters. 

inscribed  ANTVEEPI.E  pictobvji 

NTTEICI  P"- 

„  ,.  Head  of  a  'Woman. 

„  I'i'i.JffcjJte.s.  Assumption  of  the  Virgin.    1671. 

Convent    \ 
„  of  Swurs  V  Miraculous  cure  of  a  Paralytic. 

Noires.    J 

BOGDANI,  James,  known  as  a  fruit  and  flower 
painter  in  England  in  the  time  of  Queen  Anne,  was 
a  Hungarian  by  birth.  After  a  long  residence  in 
London,  he  died  in  Great  Queen  Street  in  1720. 
Some  of  his  pictures  are  in  the  Royal  Collection 
(Walpole). 

BOGLE,  John,  exhibited  miniature  portraits  in 
London  from  1769  to  1792.  In  early  life  he  lived 
in  Glasgow  and  Edinburgh  ;  afterwards  he  came 
to  London,  where  it  is  said  he  died  in  poverty. 

BOGUET,  Nicolas  Didier,  a  French  landscape 
painter,  was  born  at  Chantilly  in  1755,  and  passed 
the  whole  of  his  life  in  Rome,  where  he  died  in 
1839.  There  are  examples  of  his  work  in  the 
Galleries  of  Versailles,  Aix,  and  Montpellier. 

BOHER,  FBANgois,  a  French  painter,  sculptor, 
and  architect,  who  was  likewise  a  poet,  was  born 
at  Villefranche  in  1769,  and  became  director  of 
the  school  of  design  and  architecture  at  Perpignan. 
He  died  in  his  native  town  in  1825. 

BOIDELSIN,  — ,  (or  Boidessin,)  was  a  French 
painter  who  flourished  at  Metz  at  the  end  of  the 
17th  century.  There  is  a  '  Nativity '  by  him  in  the 
convent  of  the  Visitation  of  St.  Mary  at  Metz  ;  and 
he  also  painted  a  '  Vierge  au  Mont  Carmel,'  which  is 
well  designed  and  drawn. 

154 


BOILLY,  Alphonse,  a  French  engraver,  was  the 
son  of  Louis  Leopold  Boilly,  the  portrait  painter. 
He  was  born  in  Paris  in  1801,  and  was  a  pupil  of 
Pierre  Alexandre  Tardieu  and  of  Forster.  He  died 
at  Le  Petit  Montrouge  in  1867.  Among  his  best 
works  are : 

The  "Woman  taken  in  Adultery ;  after  TSUan. 
The  Miracle  of  the  Loaves ;  after  Muril/o. 
George  Washington,  whole  length ;  after  Gilbert  Stuart. 
Marie  Thi5r^se  Antoinette,  Infanta  of' Spain, Dauphiness 
of  France ;  after  Tocque. 

BOILLY,  Julien  Leopold,  a  painter,  engraver, 
and  litliographer,  who  was  born  in  Paris  in  1796, 
was  the  son  and  pupil  of  Louis  L6opold  Boilly. 
He  also  studied  under  Gros.  In  1826  he  made  a 
journey  to  Italy,  and  on  his  return  published  a 
series  of  studies  of  the  costumes  of  the  country. 
He  also  executed  portraits  in  pastel  and  in  chalk. 
A  portrait  of  his  father,  by  him,  is  in  the  Lille 
Museum.     He  died  in  Paris  in  1874. 

BOILLY,  Louis  Leopold,  was  born  at  La  Bassee, 
near  Lille,  in  1761.  His  only  master  was  his 
father,  Arnould  Boilly,  a  wood-carver.  He  under- 
took to  paint  when  in  his  twelfth  year  a  picture  of 
'  St.  Roch  curing  the  Plague,'  for  a  chapel  of  that 
saint.  In  the  following  year  he  executed  for  the 
brothers  of  St.  Roch  a  burial  scene  containing  por- 
traits. These  are  still  to  be  seen  at  La  Bassee.  In 
his  fourteenth  year  he  went  to  an  Augustine  priory 
at  Douai,  where  he  painted  several  portraits  and 
genre  pictures.  At  Arras  he  painted  more  than 
300  small  portraits  in  two  years.  About  1786  he 
settled  in  Paris,  executing  a  vast  number  of  works. 
In  1799  he  gained  a  prize  of  2000  frs.,  and  in  1833, 
by  the  desire  of  the  Academy,  was  invested  with 
the  Legion  of  Honour.  He  is  said  to  have  painted 
in  all  over  5000  portraits,  besides  other  works. 
An  '  Arrival  of  a  Diligence '  by  him,  signed  and 
dated  1803,  is  in  the  Louvre.  In  the  Lille  Museum 
are  a  series  of  twenty-seven  portrait  studies  for  his 
'  Interior  of  the  atelier  of  Isabey,'  and  a  sketch  for 
the  entire  work.  Many  of  his  works  have  been 
engraved  by  Tresca,  Cazenove,  Petit,  Chaponnier, 
and  others,  whilst  he  is  stated  to  have  produced 
about  a  hundred  prints  himself.  He  exhibited  many 
times  from  1793  to  1824,  and  died  in  Paris  in  1845. 

BOILVIN,  Emile,  French  engraver  ;  born  at 
Metz  ;  at  first  devoted  his  talent  to  painting.  A 
pupil  of  Pils  ;  exhibited  several  clever  genre 
pictures,  and  it  was  not  till  1868  that  his  first 
efforts  in  the  field  of  engraving  were  made.  Hia 
plates  were  notable  for  their  spontaneity  and 
freshness,  and,  while  a  faithful  translator  of  a 
great  artist's  work,  he  yet  contrived  to  infuse  into 
each  masterpiece  that  he  engraved  something  of 
his  own  poetic  personality.  French  painters  owe 
much  to  Boilvin,  from  Courbet  and  Meissonnier 
to  Dagnan,  whose  'Cene'  he  was  at  work  upon 
when  his  death  occuiTed.  Of  the  famous  pictures 
which  he  eugraved  in  masterly  fashion  we  have 
Franz  Hals'  'Femme  au  Gant';  Van  der  Heist's 
'  Paul  Potter  et  sa  Famille  ' ;  Rubens'  '  La  Vierge 
aux  Innocents ' ;  Boucher's  '  Le  Triomphe  de 
Galat^e ' ;  Lancret's  '  La  Femme  aux  Parasol,'  &c. 
He  obtained  a  medal  of  the  Third  Class  in  1877, 
of  the  Second  Class  in  1879,  a  Grand  Prix  at  the 
Universal  Exhibition  of  1889.  He  was  in  that 
year  created  Chevalier  of  the  Legion  of  Honour. 
His  death  occurred  in  Paris  in  the  August  of 
1899. 
BOIS,  Dr.    See  Do  Bois  and  Dnsois. 


PAINTERS  AND  ENGRAVERS. 


BOISFREMONT,  Charles  de,  one  of  the  pages 
of  Louis  XVI.,  went  to  America  during  the  Revolu- 
tion, and  there  taught  hinaself  painting.  On  his 
return  he  commenced  exhibiting  his  works,  in  which 
he  seems  to  have  adopted  Prud'hon  as  his  model. 
Art  is  indebted  to  him  for  the  restoration  of  the 
pictures  at  Versailles  when  they  were  in  a  very 
bad  state  of  decay.  The  date  of  his  birth  is  uncer- 
tain. He  died  in  1838.  He  exhibited  amongst 
others  the  following  : 

The  Death  of  Abel.    1803. 

Hector  upbraiding  Paris  (gold  medal  and  500  francs). 

1806. 
The  Descent  of  Orpheus  into  Hell  ((/old  medal  and  1000 

francs).     1808. 
The   Clemency  of  Napoleon  towards  the  Princess  of 

Hatzfeld  (purchased  by  the  Governments  and  executed 

in  tapestry  at  the  Gobelins  for  the  cabinet  of  Napoleor 

at  the  Tuileries).     1808. 
The  Education  of  Jupiter  on  Mount  Ida  (forming  the 

ceiling  of  the  pavilion  of  Marsan).    1812. 
The  Good  Samaritan  (in  the  Romn  Museum).     1822. 
The  Death  of  Cleopatra  (also  in  the  Rouen  Museum). 

1824. 
The  Chastity  of  Joseph.     1826. 
Le  DiSshabill^.    Same  year. 

BOISSARD,  Michel  J.,  was  a  French  engraver 
of  the  seventeenth  century.  'A  Holy  Family,'  of 
the  year  1650,  is  his  only  known  engraving. 

BOISSARD,  Robert,  an  engraver,  was  born  at 
Valence  about  1570.  He  worked  in  the  manner  of 
Theodoor  de  Bry.  Housed  the  same  mark  as  Ken^ 
Boivin,  but  their  works  should  not  be  confounded. 
In  France  and  England  we  have  by  him  : 

Portrait  of  Robert,  Earl  of  Essex  ;  after  Bromley 
Portrait  of  Henry  IV.  of  France. 
Nymphs  bathing ;  in  the  manner  of  Aldegrever. 
Judgment  of  Paris  ;  in  the  manner  of  Lucas  van  Leyden. 

BOISSELIER,  Antoine  F^llx,  a  French  his- 
torical and  landscape  painter,  was  born  in  Paris, 
in  1790.  He  was  a  pupil  of  Berlin,  and  exhibited, 
in  1819,  '  The  Death  of  the  Athlete  Polydamas ;  ' 
in  1822,  '  The  Death  of  Bayard '  (now  at  Fontaine- 
bleau) ;  and  in  1824  obtained  the  first  gold  medal. 
He  died  in  1857. 

BOISSELIER,  Fi5lix,  'the  elder,'  a  French  his- 
torical painter,  was  born  at  Damphal  (Haute- 
Mame)  in  1776,  and  in  early  life  was  employed  as 
draughtsman  in  a  manufactory  of  decorative  papers. 
At  the  time  of  the  Revolution  he  was  thrown  into 
prison,  and  after  regaining  his  liberty  entered  the 
studio  of  Regnault.  In  1805,  and  again  in  1806, 
he  obtained  the  grand  prize  in  painting,  and  to- 
wards the  end  of  the  latter  year  went  to  Rome, 
where  he  died  in  1811.  His  '  Death  of  Adonis,' 
exhibited  in  1812,  is  now  in  the  Louvre. 

BOISSEREE,  Melchior,  an  artist  and  antiquary, 
was  bom  at  Cologne  in  1786.  He  undertook,  in 
conjunction  with  his  brother,  Sulpice  Boisseree,  and 
J.  B.  Bertram,  the  formation  of  a  collection  of 
pictures  by  ancient  German  masters,  to  which  the 
three  devoted  twenty  years'  labour  and  the  bulk  of 
their  fortunes.  These  pictures,  with  some  few 
exceptions  which  are  in  the  chapel  of  St.  Maurice 
at  Nuremberg,  were  purchased  by  the  King  of 
Bavaria,  in  1827,  for  120,000  thalers  (£18,000),  and 
are  now  in  the  Pinakothek  at  Munich.  Boisseree 
executed  and  published  in  1834  a  series  of  large  litho- 
graphs of  these  pictures  in  thirty-eight  numbers.  He 
was  also  the  discoverer  of  a  new  and  simple  method 
of  painting  upon  glass  by  means  of  the  brush  alone, 
and  employed  it  for  the  reproduction  of  the  best 
works  in  the  ancient  collection  formed  by  him,  as 
well  as  of  some  chefs-d'osuvre  of  the  Italian  school 


which  are  now  at  Bonn.  His  death  took  place  at 
that  town  in  1851. 

BOISSEVIN,  L.,  was  a  printseller,  and  is  sup- 
posed to  have  engraved  the  following  plates : 

Charles  I. 

Oliver  Cromwell. 

Cardinal  Barberini ;  dated  1623. 

BOISSIER,  Andr6  Claude,  a  French  painter  of 
religious  subjects,  was  born  at  Nantes  in  1760.  He 
studied  under  Brenet,  and  settled  at  ChSteau-Gon- 
tier.  Among  his  best  works  are  an  '  Assumption  ' 
and  an  '  Apotheosis  of  St.  Vincent  de  Paul,'  both 
of  which  are  at  Pekin  ;  a  '  Temptation  of  Christ,' 
and  an  '  Adoration  of  the  Shepherds.'  He  died 
at  ChSteau-Gontier  about  1840. 

BOISSIERE.    See  De  la  Boissiere. 

BOISSIEU,  Jean  Jacques  de,  a  French  painter, 
more  celebrated  as  an  engraver,  was  born  at  Lyons 
in  1736.  He  studied  first  in  his  native  city,  but 
afterwards  went  to  Paris,  where  he  numbered 
Joseph  Vernet  and  Greuze  among  his  friends,  and 
then  to  Italy.  He  subsequently  returned  to  Lyons. 
Declining  health  compelled  him  to  give  up  painting 
in  oil  in  favour  of  drawing  and  engraving,  and 
he  preferred  to  live  in  retirement  near  Lyons  to 
shining  in  his  profession  in  Paris.  He  died  at 
Lyons  in  1810.  He  painted  some  pictures  of  simi- 
lar subjects  to  those  by  Ostade, — the  Dutch  School 
was  ever  his  favourite, — and  also  some  portraits. 
Two  Landscapes  with  figures  and  buildings  by  him 
are  in  the  Berlin  Gallery — one  is  dated  1773  ;  and  a 
Landscape  with  figures  is  in  the  Louvre.  Boissieu 
is,  however,  principally  known  by  the  charming 
etchings  he  has  left  us  of  landscapes  and  other 
subjects,  both  from  his  own  designs  and  those  of 
other  masters.  The  number  of  his  plates,  which 
are  generally  marked  D.  B.,  with  the  date,  is  140. 
The  following  are  his  best  prints  : 

A    mountainous    Landscape,    with    Waterfall  ;    after 

Asselyn. 
A  Landscape,  with  Shepherds,  by  the  water-side ;  after 

Bercheni. 
The  Quack  Doctor  ;  after  K.  du  Jardiii. 
An  Old  Man,  with  a  Boy  reading;  in  the  manner  of 

Rembrandt. 
A  Cooper  working  in  a  Cellar ;  the  same. 
A  Landscape,  with  a  Boy  driving  an  Ox;  after  Ruisdael. 
A  Landscape,  with  figures  in  a  Boat,  and  a  Mill ;  after 

the  same. 
The  Great  Mill ;  after  the  same. 
The  Mower's  Rest ;  after  Adriaan  ran  de  Velde. 
An  Italian  Landscape,  with  Women  washing. 
A  Forest,  with  a  Cottage,  and  a  Man  on  Horseback, 

with  Peasants. 
Another  Forest  scene  ;  the  companion. 
A  Landscape,  with  figures  and  animals,  in  the  middle  a 

Hill,  on  which  is  a  Cross,  and  an  old  Man  kneeling. 
A  View  near  Tivoli,  with  a  Man  and  a  Woman  mounted 

on  a  Mule,  driving  Cattle  through  a  Rivulet. 
A  Landscape,  with  a  Hermit,  at  the  entrance  of  a 

Cavern.     1797. 
A  Landscape,  with  large  figures,  and  two  Cows  standing 

in  the  Water. 

The  two  last  mentioned,  with  the  first  and  'The 
Great  Mill,'  are  his  best  plates.  See  '  Catalogue 
raisonne  de  son  (Euvre.'     Lyons.     1878.     8vo. 

BOIT,  Charles,  the  son  of  a  Frenchman,  was 
bom  at  Stockholm  about  1663,  and  began  life  as 
a  jeweller.  He  went  to  England  and  established 
himself  as  a  drawing-master,  but  afterwards  took 
to  painting  in  enamel,  an  art  in  which  he  excelled 
so  much  that  he  was  commissioned  to  paint  for 
Queen  Anne  a  plate  twenty-four  inches  by  eighteen 
in  commemoration  of  the  victories  of  the  Duke  of 
Marlborough  and  Prince  Eugene,  which,  however, 

155 


A  BIOGRAPHICAL  DICTIONARY  OF 


was  never  finished.  At  the  death  of  the  qneen.  in 
1714,  he  fell  into  difficulties,  and  fled  to  France, 
where  he  was  much  patronized  by  the  court.  He 
became  a  member  of  the  Academy  in  1717,  and 
died  in  Paris  in  1727.  Horace  Walpole  gives  a 
long  account  of  him,  and  mentions  many  enamel 
portraits  and  copies  of  celebrated  paintings  exe- 
cuted by  him. 

BOITARD,  Lonis  Pierre,  who  was  bom  in 
France,  was  a  pupil  of  La  Farge.  He  went  to  Eng- 
land with  his  father  in  the  reign  of  George  I.,  and 
became  celebrated  as  an  engraver  of  book  plates. 
He  married  an  English  lady,  and  died  in  London 
in  1758.  His  most  important  work  was  a  repre- 
sentation of  the  Ranelagh  Rotunda,  after  Paolo 
Pannini.  Other  good  plates  of  his  are  those  he 
executed  for  Spence's  '  Polymetis.'  He  also  en- 
graved some  portraits,  among  which  is  that  of 
Brown,  the  soldier  who  distinguished  himself  at  the 
battle  of  Dettingen,  and  one  of  Elizabeth  Canning. 

BOIVIN,  Ren-6,  (or  BoTviN,)  a  French  draughts- 
man and  line-engraver,  was  born  at  Angers  about 
the  year  1530.  and  died,  as  is  believed,  at  Rome 
in  1598.  He  engraved  several  plates  in  the  style 
of  Cornells  Cort,  and  we  have  also  some  etchings  by 
him.  Some  of  his  plates  are  from  his  own  designs, 
and  some  from  those  of  Rosso  del  Rosso,  called 
by  the  French  Maitre  Roux.  He  sometimes  signed 
his  works  with  his  baptismal  name,  Renatus,  and 
sometimes  mth  a  cipher  composed  of  an  R  and  B, 

thuSj^j^      Tljg  following  are  his  principal  plates: 

Twelve  Portraits  of  Philosophers  and  ancient  Poets. 

Two  Portraits  of  Clement  Marot. 

Portrait  of  John  Sebastian  Psanserus. 

Portrait  of  George  Vicelius,  Theologian. 

Susannah  and  the  Elders. 

The  departure  of  Hagar  and  Ishmael  from  the  House 
of  Abraham  ;  a  spirited  etching. 

Banditti  robbing  the  Cart  of  a  Peasant ;  etching. 

The  Plates  for  a  work  entitled  "  Ljvre  de  la  Conqueste 
de  la  Toison  d'or,  par  le  Prince  Jason  de  Tessalie." 

The  Triumph  of  Virtue  and  the  Defeat  of  Vice ;  after 
Hosso  del  Mosso. 

Francis  I.  advancing  towards  the  Temple  of  Immor- 
tality, leaving  behind  him  Ignorance  and  the  Vices ; 
after  the  same. 

BOIZOT,  Marie  Louise  Adelaide,  a  French  line- 
engraver,  was  bom  in  Paris  in  1744.  She  was  the 
daughter  of  Antoine  Boizot,  a  painter,  and  sister 
of  Louis  Simon  Boizot,  a  sculptor,  and  was  in- 
structed in  art  by  her  father  and  by  J,  J.  Flipart. 
She  engraved  with  great  neatness  several  portraits 
and  other  subjects,  and  died  about  the  year  1800. 
The  following  are  among  her  works  : 

Jean  Joseph  Guillaume  Brute,  Doctor  of  Sorbonne  ;  31. 

L.  A.  Boizot  del.  et  fee. 
Joseph  II.,  Emperor  of  Germany ;  after  L,  S.  Boizot. 
Louis  XVI.,  King  of  France  ;  after  the  same. 
Marie  Antoinette,  Queen  of  France ;  after  the  same. 
Louis  Stanislas  Xavier,  Count  of  Provence,  afterwards 

Louis  XVIII. ;  after  the  same. 
Marie  Josephine  Louise,  Countess  of  Provence ;   after 

the  same. 
Charles  Philippe,  Count  of  Artois,  afterwards  Charles 

X. ;  after  the  same. 
Marie  T"hcrese,  Countess  of  Artois ;  after  the  same. 
Madame  Elizabeth,  sister  of  Louis  XVI. ;  after  the  same. 
St.  Catharine  ;  after  L.  Carracei. 
The  Dutch  Breakfast ;  after  G.  Metsii. 
A  Boy  with  a  Birdcage  ;"  after  Ketscher. 
A  young  Turk  ;  after  the  same. 
La  Liseuse  ;  after  Greitze. 

BO  JAN,  J.  L.,  was   a  French  engraver,  who 
flourished  about   the  year  1670.     He  was  chiefly 
employed   by  Jean  Berain  in  engraving  some  of 
156 


the  plates  for  his  large  work  of  the  Omamenta  in 
the  Louvre  and  the  Tuileries. 

BOKLUND,  JoHAM  Kristoffer,  who  was  bom  in 
1817  at  Kulla-Gunnarstorp,  Sweden,  f.tudied  imder 
Korner  in  Lund,  and  then  in  Copenhagen,  Stock- 
holm. Munich,  and  lastly  under  Couture  in  Paris. 
In  1856  he  returned  to  Stockholm,  where  he  became 
a  member  of  the  Academy  of  which  he  was  after- 
wards Director,  and  held  various  important  posts, 
including  the  Curatorship  of  the  National  Museum. 
He  painted  scenes  from  the  Thirty  Years'  War, 
historic  pictures,  genre  subjects,  and  portraits. 
Many  celebrated  persons  sat  to  him.  He  died  at 
Stockholm  in  1880. 

BOKSHOORN,  Joseph,  a  Dutch  portrait  painter, 
was  bom  at  the  Hague,  and  came  to  London  in 
1670,  where  he  died  at  the  age  of  thirty-four.  He 
was  a  scholar  of  Sir  Peter  Leiy,  whose  works  he 
copied  in  g^eat  perfection.  He  also  copied  por- 
traits by  Van  Dyck,  particularly  that  of  the  Earl  of 
Strafford,  which  was  in  the  possession  of  the  Earl 
of  Rockingham.  Vertue  mentions  portraits  by  him 
of  Mr.  Davenant  (son  of  Sir  William)  and  his  wife. 

BOL,  CoRNELis,  was  a  native  of  Holland,  and 
flourished  about  the  year  1660.  He  visited  England 
before  the  fire  of  London,  as  he  painted  views  of 
that  conflagration.  He  also  painted  representations 
of  Sutton  Place  in  Surrey,  Arundel  House,  Somerset 
House,  and  the  Tower.  He  etched  some  plates 
representing  the  seaports  of  Holland,  among  which 
is  that  of  the  Briel. 

BOL,  Ferdinand,  was  bom  at  Dordrecht  in  1611. 
Of  his  life  we  know  but  little.  He  went  when  a 
child  with  his  parents  to  Amsterdam,  his  future 
home ;  studied  under  Rembrandt ;  was  made  a 
citizen  ;  married,  in  1653,  Elisabeth  Dell ;  and  died 
there  in  1681.  His  masterpiece,  the  '  Four  Regents 
of  the  Leprosy  Hospital,' — which  formerly  hung  in 
that  institution  at  Amsterdam,  and  is  now  in  the 
Townhall, — at  a  certain  exhibition  held  for  chari- 
table purposes  is  said  to  have  received  more  notion 
and  praise  than  any  of  the  works  of  his  master, 
Rembrandt,  Yet  Bol  was  a  most  uncertain  painter  ; 
and  although,  while  under  tlie  influence  of  Rem- 
brandt, he  produced  works  that  may  have  passed 
as  being  the  work  of  the  master  himself,  he  latterly 
degenerated  into  a  bad  imitator  of  Rembrandt,  and 
appears  even  to  have  exaggerated  the  faults  of  his 
manner  and  style  without  retaining  the  power  of 
giving  the  superb  effects  of  light  and  shade  which, 
while  in  that  master's  studio,  he  certainly  once  pos- 
sessed. This  change  is  apparent  in 
those  paintings  of  Bol  that  bear  a  later 
date  than  1660,  when  he  had  probably 
left  Rembrandt. 

The  following  are  his  principal  paintings : 

Amsterdam.  Museum.    Portrait  of  Ferdinand  Bol. 

„  „        Portrait     of     Arthur      Quellinus, 

Sculptor;  Bol.    1663. 
„  „         Portrait  of  Admiral  Michiel  Adri- 

ansz  de  Ruvter ;    F.  BOL  fecit. 
1677. 
Amsterdam.  „        A  Mother  with  her  two  Children ; 

F.  BOL  FEcrr. 
„  ,,        The    Instruction ;  F.  BOL.     1663. 

„  "        Portrait  of  Admiral  de  Ruyter. 

„         Town  Hall. Foni  Kegents  of  the  Leprosy  Hos- 
pital {his  7iiaslerpiece). 
Berlin.         Jfuseum.       Portrait  of  an  Old  Lady;  F.  bol 

FECIT.     1642. 
Brussjls.       Gallery.    Portrait  of  a  Man ;  F.  bol  f.  1660. 
The  F  and  the  B  interlaced  as 
given  above.    (^Formerly  called  a 
Rembrandt.) 


h0^ 


PAINTERS  AND  ENGRAVERS. 


Brussels.       Gallery. 


Cambridge.   Fitzml-  \ 
Ham  Mus,  j 
Dresden.       Gallery. 


Frankfort.    Stddel. 


Hague.        Gallery. 


Liverpool.  Institvie. 
London.  Nat.  Gallery. 

„        No)'tWiro6k  \ 
Coll.       J 


Leyden.      Tovm  Sail. 
Munich.      Pindkothek. 

Paris.  Louvre. 

)»  »» 

»»  "    , 

Petersburg.  Hermitage. 


Rotterdam.  Museum. 


Portrait  of  a  Woman;  F.  BOL  F.  | 
1660.  (Formerly  called  a  Rem-  . 
brandt.) 

Portrait  of  Saskia  van  Ulenburgh, 
wife  of  Rembrandt  van  Ryu. 

A  Portrait. 

Rest  on  the  Flight  into  Egypt ;  F. 
BOL  FECIT.      1644. 

Jacob's  Vision  ;  f,  bol  fecit. 

Joseph  presenting  Jacob  to  Pha- 
raoh. 

Portrait  of  Ferdinand  Bol. 

Portrait  of  a  Young  Man  holding 
his  Hat  and  Gloves  in  his  Hand ; 
F.  BOL.     1644. 

Portrait  of  a  Man  with  Curly  Hair ; 
F.  BOL.      1659. 

Portrait  of  Van  Juchen. 

Portrait  of  Engel  de  Ruijter ;  F. 
BOL.     1669. 

The  Angel  appearing  to  Hagar. 

Portrait    of    an    Astronomer ;    F 

BOL  FECIT.      1652. 

Portraits  of  a  Bride  and  Bride- 
groom. 

A  Scene  from  Guariui's  '  Pastor 
Fido.' 

Allegory  of  Peace  (jiaiiited  in 
1664). 

Abraham,  about  to  offer  up  Isaac- 
stopped  by  an  Angel. 

Portrait  of  a  Man  clothed  in  Blacli 

A  Philosopher  in  Meditation. 

Portrait  of  a  Mathematician. 

Portrait  of  a  Man  ;   F.  bol.     1659 

Portrait  of  a  Countess  of  Nassau- 
Siegen  (probably  Ernestina,  wifi 
of  John  the  youmjer). 

Portraits  of  Persons,  unknown — 
as  Theseus  and  Ariadne. 

The  Savant,  writing. 

Portrait  of  a  Man. 

Portrait  of  a  Lady,  in  black,  seated, 
holding  her  gloves. 

Portrait  of  a  Young  Man,  his  right 
hand  on  a  table. 

Portrait  of  a  Young  Lady,  stand- 
ing before  an  old  Man,  who  i-- 
seated  (miscalled  '  Esther  ami 
Afiasuerus^). 

The  Philosopher  (signed). 

Portrait  of  a  Young  Man  (xcith  a 
fori/ed  signature  of  Rembrandt). 
1641. 

Portrait  of  an  Old  Woman  ;  F.  BOL. 
1651 ;  OUT  81  JAEB. 

Portrait  of  Dirk  van  der  Waeijen  ; 
F.  BOL.      1656. 

Portrait  of  a  Lady ;  F.  bol  i^ecit. 
1652. 


Bel's  etchings  are  highly  esteemed  ;  they  are 
executed  in  a  bold  and  free  manner,  and  his  lights 
and  shadows  are  very  judiciously  managed.  Al- 
though they  are  not  equal  in  lightness  of  touch 
and  tasteful  style  to  the  etchings  of  Rembrandt, 
they  possess  great  merit.  The  following  is  a  list 
of  nearly  the  whole  of  his  prints  : 

PORTRAITS    AND    HEADS. 

A  young  Man,  with  a  round  Hat ;  marked  Bol  fee. 

An  Officer  with  his  hands  on  the  Hilt  of  his  Sword ; 

Bolfec.    1643. 
A  young  Man,  with  a  Cap  and  Feathers  ;  F.  Bol.     1642. 
A  young  Woman,  half  length,  with  a  Cap  and  Feathers ; 

marked  F.  Bol  f.     1644  ;  fine,  oval. 
The   Woman  with   the   Pear,  at  a    Window ;    in   the 

manner  of  Rembrandt ;  very  fine. 
An  old  Man  sitting  in  a  Chair,  with  some  Books  and  an 

unhghted  Candle ;  marked  £o/;  scarce. 


An  old  Man,  half  length,  with  a  Bonnet,  leaning  on  a 
Cane  ;  in  the  manner  of  Rembrandt ;  F.  Bolfec.     1642. 

Bust  of  an  old  Man,  seen  in  front,  with  a  fur  Robe, 
fastened  with  Diamonds ;  no  name  ;  very  scarce. 

VARIODS    SUBJECTS. 

A  Philosopher  in  Meditation,  resting  on  a  Table,  on 
which  are  some  Books  and  a  Globe ;  very  fine. 

Another  Philosopher,  holding  a  Book  ;  F.  Bol.     1642. 

The  Astrologer,  an  old  Man  sitting  at  a  Table,  with 
Books  and  a  Globe;  he  wears  a  flat  Hat,  and  his 
Hands  are  crossed. 

The  Family — A  Woman  suckling  a  new-bom  Lifant, 
with  a  Man  holding  Linen  ;  F.  Bol.     1649. 

Abraham's  Sacrifice ;  an  arched  plate  ;  F.  Bol  f. 

Hagar  in  the  Desert,  with  the  infant  Ishmael ;  F.  Bolf. 
A  very  scarce  print,  mentioned  by  Heineken. 

The  Sacrifice  of  Gideon. 

St.  Jerome  in  a  Cavern,  contemplating  a  Crucifix ;  F 
Bolf 

BOL,  Hans,  or  Jan,  a  Flemish  painter  and  en- 
graver, was  born  at  Mechlin  in  1534.  After  study- 
ing two  years  under  an  obscure  painter,  he  travelled 
through  Germany,  and  passed  some  time  at  Heidel- 
berg, where  he  was  employed  by  the  Elector  of 
the  Palatine  for  two  years.  After  visiting  his 
native  city  he  went,  in  1672,  to  Antwerp,  where  he 
stayed  till  1584.  He  then  visited  Bergen,  Dor- 
drecht, and  Delft,  but  he  subsequently  settled  at 
Amsterdam,  where  he  died  in  1593.  His  works, 
which  were  greatly  esteemed,  included  several 
copies  from  the  most  eminent  masters.  Van 
Mander  speaks  highly  of  two  pictures  by  this 
master,  representing  '  Dsdalus  and  Icarus,'  and 
'  The  Crucifixion.'  He  is,  however,  more  known  as 
a  painter  of  landscapes  and  views  in  the  neighbour- 
hood of  Amsterdam.  A  Landscape  by  him  is  in 
the  Berlin  Gallery.  He  also  painted  portraits  and 
fruit  and  flower  "pieces.  In  later  life  he  devoted 
himself  entirely  to  miniature  painting,  in  which  he 
was  very  successful.  The  cabinet  of  miniatures  at 
Munich  possesses  good  examples  of  his  art.  He 
etched  several  plates  from  his  own  designs  in  a 
slight  spirited  style,  which  he  sometimes  marked 
H.  B.,  and  sometimes  H.  Bol,  the  H  and  B  joined 
together.     We  have  the  following  prints  by  him  : 

The  Reconciliation  of  Jacob  and  Esau  ;  circular. 

The  first  interview  between  tho  Servant  of  Abraham 

and  Rebekah. 
Twelve  circiilar  plates  of  tho  Twelve  Months  of  the 

Year;  Ad.  Collaert  excud. 
A  set  of  twelve  Landscapes ;  H.  Bol  inv.  Joh.  Sadeler 

txc. 
A  set  of  twelve  Landscapes ;  M.  Cock  exc.  E.  Bol. 
A  large  Landscape,  with  a  Man  in  a  Boat  catching  a 

Goose,  with  several  figures. 

BOLDRINI,  Leonardo,  lived  in  the  16th  century, 
and  is  the  author  of  an  altar-piece,  whose  panels 
are  now  hanging  apart  in  the  church  of  San  Gallo, 
near  Zogno.  No  further  information  of  him  is 
known. 

BOLDRINI,  Niccol6,  frequently  confused  with 
Niccol6  Vicentino,  was  an  engraver  on  wood,  born 
at  Vicenza  in  the  early  part  of  the  Ifith  century, 
and  who  was  still  living  in  1566.  His  prints  are 
chiefly  after  Titian,  and  it  is  thought  that  he 
studied  under  that  master ;  they  are  executed  in  a 
bold  free  style.    His  works  are  scarce.    He  marked 

his  prints  with  the  cipher  »>!<<,»  •     ^^  have  the 

following  by  him : 

John,  Baron  de  Schwarzenburg ;  with  a  border;  after 

Albrecht  Uilrer. 
The  Wise  Men's  Offering ;  after  Titian,  with  his  cipher. 

167 


A  BIOGRAPHICAL  DICTIONARY  OF 


St.  Jerome  praying ;  in  a  landscape ;  after  the  tame. 
St.   Catharine.  St    Sebastian,  and  four  other  Saints ; 

after  the  same. 
A  moontainoos  I.andscape,  with  a  Woman  milkmg  a 

Cow. 
Venus  seated  on  a  Bank,  holding  Cupid,  a  Sqmrrel  on 

the  Branch  of  a  Tree ;  marked  Titianus  inv.  Nicolata 

Boldrinus  Vicentiiius  inddebat.     1566. 

BOLLMAN,  HiEROXTMCS.  By  this  artist,  who 
was  probably  a  native  of  Germany,  we  have  some 
prints  after  Raphael  and  other  eminent  painters  of 
the  Italian  schooL  They  are  executed  in  a  bold, 
free,  and  efEective  style,  and  possess  considerable 
merit. 

BOLLONGIE.  Haxs  or  Jan  Bolongiee.  flourished 
in  Holland  in  the  middle  of  the  seventeenth  cen- 
tury. He  entered  the  Painters'  Guild  at  Haarlem 
in  1623,  and  is  again  mentioned  in  the  records  in 
1642.  Neither  his  birth  nor  his  death  is  recorded. 
In  the  Rotterdam  Museum  is  a  '  Scene  of  a  Carni- 
val,' signed  H.  Bollongie,  1628.  A  flower-piece, 
marked  I.  B.  1625,  in  the  Dresden  Gallery  is  attri- 
buted to  him.  HoBATius  Bolongier  of  Haarlem 
was  also  a  painter;  he  died  in  1681. 

BOLOGNA,  An'Prea  da,  was  a  follower  of  Vitale. 
A  painting  by  him,  representing  '  The  Virgin  and 
Child,'  signed  De  Bononia  natus,  Andreas  fatus 
A.D.  McccLxsiL.is  in  the  church  Del  Sacramento  at 
Pansola,  near  Macerata.  Another  example  of  this 
painter  is  in  a  convent  at  Fermo,  but  Bologna  does 
not  possess  any  work  by  him. 

BOLOGNA,  Cbistoforo  da,  has  been  claimed  as 
belonging  to  Bologna.  Modena,  and  Ferrara.  As 
his  works  are  found  in  the  last-named  city,  it  is 
presumed  that  he  lived  there.  He  painted  toward 
the  close  of  the  14th  and  the  beginning  of  the  15th 
century.  Among  his  works  at  Ferrara,  an  '  En- 
tombment,' signed  Xpofobus  fecit,  in  the  Costabili 
Collection,  is  worthy  of  note. 

BOLOGNA,  Lattanzio  da,  was,  according  to 
Baglione,  a  native  of  Bologna,  and  a  scholar  of  the 
Carracci,  On  leaving  that  celebrated  academy  he 
went  to  Rome,  and  was  emploj-ed  by  Sixtus  V.  in 
painting  the  ceiling  of  one  of  the  saloons  in  the 
Lateran.  He  also  painted  the  ceiling  in  the  chapel 
of  Sixtus  V.  in  the  church  of  Santa  Maria  Mag- 
giore,  representing  a  choir  of  angels.  In  Santa 
Maria  de'  Monti  is  a  fine  picture  by  him  of  the 
'  Flagellation.'  This  painter  promised  to  arrive  at 
a  high  rank  in  the  art,  but  being  naturally  of  a 
weak  constitution,  which  was  probably  impaired 
bv  constant  application,  he  died,  much  regretted, 
at  the  age  of  27. 

BOLOGNA,  Lorenzo  da.    See  Sabbatini. 

BOLOGNA,  Niccol6  da,  is  the  author  of  a  mis- 
sal, with  the  date  1.374.  in  the  Munich  Gallery,  and 
of  miniatures  in  a  Commentary  on  the  New  'Testa- 
ment, in  the  library  of  the  Vatican,  at  Rome. 

BOLOGNA,  Pellegrini  da.    See  Pellegrinl 

BOLOGNA,  Simone  da,  who  painted  from  1370 
to  1377  at  Bologna,  is  thought  to  have  been  a  pupil 
of  Franco  Bolognese.  He  is  also  called  'Simone 
de'  Crocifissi.'  in  contradistinction  to  Vitale,  who 
never  treated  that  subject,  whilst  Simone  painted 
little  else.  His  figures  are  somewhat  masculine 
and  coarse.     His  chief  works  are  in  Bologna  : 


S.  Giacomo     J  ^^^     J   Crucifixion  (Simon  PBcrr  hoc 
Maggiore.  J   q.^^^^      (       oprs  a.d.  jicccixx.). 

S.  Stefano.  Fourth  church.  Crucifixion  (sifjtifd). 

n         Seventh  church.  St.  Ursula  and  her  companions. 
„         Academy.        {CoKT^^tiou     of     the      Virgin 

'  (     (Sqion  fecit). 

158 


Other  paintings  by  him  are  in  Modena,  Ferrara, 
and  elsewhere. 
BOLOGNA,  ToMMASO  Vincitobe  da.    See  Vin- 

CITORE. 

BOLOGNA.  Vitale  da.     See  Cavalli. 

BOLOGNESE,  Franco,  a  miniature  painter  of 
the  14th  century,  is  said  to  have  received  instruc- 
tion from  Oderigi  of  Gubbio.  In  conjunction  with 
that  master  and  Giotto  he  was  employed  by  Pope 
Boniface  VIII.  to  illustrate  several  books,  now  in 
the  library  of  the  Vatican.  Though  inferior  to 
Giotto,  Dante  gives  him  a  higher  rank  in  the 
'Purgatorio'  (xi.  83).  Franco  Bolognese  was  the 
founder  of  a  school  of  painters  at  Bologna,  and 
instructed,  amongst  others,  Vitale,  Lorenzo,  Si- 
mone Jacopo,  and  Cristoforo  da  Bologna. 

BOI-OGNESE,  II.  See  Grimaldi,  Giov.  Fb.,  alsc 
Monti. 

BOLOGNINI.  Carlo,  who  is  mentioned  in  the 
'  Abecedario  Pittorico '  of  Padre  Orlandi,  was  bom 
at  Bologna  in  1678  (Zani  says  1662),  and  was  first 
a  scholar  of  Mauro  Aldrovandini.  lie  afterwards 
studied  under  Giulio  Trogli.  He  excelled  in  paint- 
ing architectural  views  and  perspective,  and  was 
much  employed  at  Vienna,  where  he  resided  some 
years.     He  died  in  1704. 

BOLOGNINI,  Giacomo,  the  nephew  of  Giovanni 
Battista  Bolognini,  was  bom  at  Bologna  in  1664. 
He  received  his  instruction  in  the  art  from  his 
uncle,  and  became  a  reputable  painter  of  history. 
There  are  some  of  his  pictures  in  the  churches  at 
Bologna.  In  that  of  SS.  Sebastiano  e  Rocco  there 
is  a  picture  of  '  St.  Francis  receiving  the  Stigmata : ' 
and  in  that  of  the  Purita,  '  The  dead  Christ,  with 
the  Virgin  Mary  and  Mary  Magdalen.'  He  died 
in  1734. 

BOLOGNINI,  Giovanni  Battista.  a  Bolognese 
painter  and  engraver,  was  born  at  Bologna  in  1611, 
and  died  at  the  same  place  in  1688.  He  was  one 
of  the  ablest  scholars  of  Guido  Reni.  There  are 
several  of  his  pictures  in  the  churches  at  Bologna. 
In  Santa  Maria  Nuova  is  a  picture  by  this  master, 
representing  '  The  Virgin  Mary  and  Infant  Jesus, 
with  St.  Dominic,  St.  Eustatius.  and  Mary  Mag- 
dalene.' In  the  church  of  the  Servi,  '  The  dead 
Christ,  with  the  Virgin  Mary,  St.  John, and  others;' 
in  Santa  Lucia,  '  The  Immaculate  Conception,'  and 
in  the  PLnacoteca  of  that  town  is  a  '  Magdalen '  by 
him.  This  artist  etched  some  plates  after  the  works 
of  Guido,  in  a  slight  spirited  manner  ;  among  them 
are  the  following : 

The  Murder  of  the  Innocents ;  after  Guido. 
St.  Peter  made  Head  of  the  Church ;  after  the  tame. 
Bacchus  and  Ariadne  ;  in  three  sheets  ;  after  the  same. 
The  Crucifixion :  after  the  picture  in  the  church  of  the 
Capuchins  at  Bologna. 

BOLONGIER.     See  Bollongie. 

BOLSWERT,  Boetius  Adam  a,  an  eminent  en- 
graver, was  bom  at  Bolswert,  a  town  in  Friesland, 
about  1580.  It  is  not  said  by  whom  he  was  in- 
structed in  the  art  of  engraving ;  but,  in  company 
with  his  younger  brother  Scheltius,  he  settled  at 
Antwerp  as  a  printseller  and  engraver.  He  died 
in  that  city  about  the  end  of  the  year  1633.  He 
worked  entirely  with  the  graver,  and  seems  to 
have  adopted  the  free  open  manner  of  Cornells 
Bloemaert.  The  plates  that  he  engraved  after 
Rubens  are,  however,  in  a  more  finished  style,  and 
fuller  of  colour.     He  sometimes  signed  his  plates 

dams  «2»olsvert.&  sometimes  34jy  ^olsuerd. 
His  principal  plates  are  the  following: 


PAINTERS  AND  ENGRAVERS. 


PORTRAITS   AND  SUBJECTS   FROM   HIS  OWN  DESIGNS. 

F.  Adam  Sasbout;  inscribed  Omnia  vanitas. 

John  Bergman,  Jesuit,  kneeling  before  an  Altar,  point- 
ing to  a  Skull. 

St.  Aloysius  Gonzaga  kneeling  before  a  Crucifix. 

William  Louis,  Count  of  Nassau. 

William  of  Nassau  lying  in  State.     1618. 

Seventy-seven  plates  for  the  '  Life  of  Christ ; '  published 
at  Antwerp  1622  and  1623  ;  Het  Leven,  &c. 

The  plates  for  a  book  entitled  '  The  Pilgrimage ; '  pub- 
lished at  Antwerp  in  1627. 

VARIOUS   SUBJECTS   AFTER   DIFFERENT   MASTERS. 

The  Adoration  of  the  Shepherds;  after  Abr.  Bloemaert. 

1618. 
The  Repose  in  Egypt ;  after  the  same. 
Twenty-four  of  the  Hermits  of  the  Deserts ;  Silva  Ana- 

ghoretica  ;  published  at  Antwerp  in  1619 ;  after  the 

same. 
Twenty-six  of  the  Ifermitesses ;  after  the  same. 
Four  of  landscapes  and  figures ;  after  the  same.     1613. 
Set  of  twenty  landscapes;  numbered;  after  the  same. 

1616. 
Fourteen  of    animals;  after  the  same;  B.  a  Bolswert 

fee.     1611. 
Jesiis  Christ,  with  Mary  and  Martha;  after  J.  Goiemar ; 

B.  &  Bolswert  sc. ;  scarce. 
The  Judgment  of  Solomon ;  after  Rubens. 
The   Resurrection   of   Lazarus;    after   the  same;   very 

fine. 
The  Last  Supper;  after  the  same;  P.  P.  Rubens  pinx. 

Boet.  &  Bohicert  sc. ;  very  fine. 
Men   contending  against  Animals ;   after  D.    Vincken- 

booms  ;  B.  d  Bolswert  sc. ;  scarce. 
A  Landscape,  with  Adam  and  Eve  in  Paradise  ;  after  the 

same;  B.  li  Bolswert  sc;  scarce. 

BOLSWERT,  ScHELTiDS  i,  a  very  distinguished 
engraver,  was  the  younger  brother  of  Boetius  Adam 
a  Bolswert,  and  was  born  at  the  town  of  Bolswert,  in 
Eriesland,  in  1586.  He  settled  with  his  brother  at 
Antwerp,  where  he  became  one  of  the  most  cele- 
brated engravers  of  his  country.  He  died  there 
in  1659.  The  plates  of  this  excellent  artist  are 
worked  entirely  with  the  graver,  and  it  does  not 
appear  that  he  made  any  use  of  the  point.  He 
engraved  many  plates  after  the  most  eminent  of 
the  Flemish  masters,  but  he  has  particularly  dis- 
tinguished himself  by  the  admirable  performances 
he  has  left  us,  after  some  of  the  finest  pictures  of 
Rubens  and  Van  Dyck,  which  he  represented  with 
a  judgment  and  ability  that  give  them  more  effect 
than  can  well  be  expected  in  a  print,  and  appear 
to  exhibit  the  very  character  and  colour  of  the 
paintings.  It  was  not  unusual  for  Rubens  to  retouch 
his  proofs,  in  the  progress  of  the  plates,  with  chalk 
or  with  the  pencil,  which  corrections,  attended  to 
by  the  engraver,  contributed  not  a  little  to  the 
characteristic  expression  we  find  in  his  prints ; 
proofs  of  this  description  are  to  be  met  with  in 
the  portfolios  of  the  curious.  He  engraved  with 
equal  success  historical  subjects,  huntings,  land- 
scapes, and  portraits ;  and  the  number  of  his 
prints  is  very  considerable.  His  plates  are  gener- 
ally signed  with  his  name,  or  thus,  1^0^    l^oL 

ols.      The  following  are  his  principal   prints,  of 
which  we  have  given  rather  a  detailed  list : 

VARIOUS   SUBJECTS,   MOSTLY    AFTER   HIS   OWN 
DESIGNS. 
The  Infant  Jesus  and  St.  John  playing  with  a  Lamb. 
The  Virgin  Mary,  and  Infant  Jesus  sleeping. 
The  Virgin  giving  suck  to  the  Infant. 
The  Virgin  Mary,  with  her  hands  folded  on  her  Breast. 
The  Virgin  Mary  with  the  Infant  in  the  clouds,  with 

Angels  and  Cherubim. 


The  Infant  Jesus  caressing  the  Virgin  Mary,  and  St. 

Joseph  holding  a  Pear. 
Twelve  half-length  figures  of  Saints. 
Twelve  other  halt-length  figures  of  Saints,  beginning 

with  St.  Peter. 
A  Hermit  kneeling  before  a  Crucifix. 
Mater  Dolorosa. 

Jesus  Christ  triumphing  over  Death. 
St.  Barbe,  Martyr. 

St.  Stanislaus  Koska,  kneeling  before  an  Altar. 
St.  Francis  Borgia. 
St.  Alfonso  Rodriguez. 
Robert  Bellarmin,  of  the  Society  of  Jesus. 
Leonard  Lessius  ;  another  Jesuit. 
An  emblemiitical  subject  of  Prince  Ferdinand ;  inscribed 

In  te  spes  reclinata  recumhit. 
Two  plates  of  a  Thesis ;  dedicated  to  Sigismund,  King 

of  Poland. 
Six  plates,  with  the  Frontispiece,  for  the  Academie  de 

I'Espee  ;  by  Thibault.     1628. 
The  Dispute  between  the  Gras  and  the  Meagre;  B.  A. 

Bohicert  inv. 
VARIOUS   SUBJECTS,   AFTER    DIFFERENT    FLEMISH 

MASTERS. 
The  Death  of  a  Saint,  and  that  of  a  Sirmer ;  after  IHe- 

penbeeck. 
The  Dead  Christ  on  the  Knees  of    the  Virgin  Mary ; 

after  the  same. 
The  Crucifixion  of  the  Three  Jesuits  at  Japan ;  after  the 

same. 
The  Crucifixion;  Jac.  Jordans  inv.  et  pinx.;  the  best 

impressions  are  before  the  cum  Privileyio  Regis. 
Mercury  and  Argus ;  after  the  same  ;  the  good  impressions 

are  before  the  address  of  Blooteliug ;  fine. 
The  infant  Jupiter ;  after  the  same  ;  fine. 
Pan  playing  on  a  Flute ;  after  the  same  ;  fine. 
A  Concert;   entitled  Soo  d'Oude  songen,  soo  pepen  de 

Jongen  ;  after  the  same. 
Pan  holding  a  Basket  of  Fruit,  and  Ceres  crowned  with 

Com,  and  a  Man  sounding  a  Horn ;  after  the  same ; 

very  scarce.  •■ 

The  Salutation ;  after  Gerard  Zegers. 
The  Return  of  the  Holy  FamUy  out  of  Egypt ;  after  the 

same. 
The  Virgin  appearing  to  St.  Ignatius,  who  is  kneeling ; 

after  the  same. 
St.  Francis  Xavier,  tempted  by  the   Devil;  after  the 

same. 
Peter  denying  Christ ;  after  the  same;  very  fine. 
Abraham  sacrificing  Isaac ;  after  Theoodor  Rombouts. 
A  Concert ;  after  the  same. 
The  Virgin  with  the  Infant  Jesns  holding  a  Globe ;  after 

Erasmus  Quellinus. 
The  Communion  of  St.  Rosa ;  after  the  same. 
The    Triumph    of    the    Archduke    Leopold    William, 

Governor  of  the  Netherlands,  1653  ;  four  sheets ;  after 

the  same. 

PORTRAITS,    ETC.,   AFTER    VAN   DYCK. 
Andries  van  Ertvelt,  painter  of  Antwerp. 
Martin  Pepin,  painter. 
Adriaan  Brouwer,  painter. 
Jean  Baptiste  Barbe,  engraver. 
Justus  Lipsius,  historiographer. 
Albert,  Prince  of  Aremberg. 
Mary  Ruthven,  wife  of  Van  Dyck. 
Margaret  of  Lorraine,  Duchess  of  Orleans. 
Willem  de  Vos,  painter. 
Sebastiaan  Vranck,  painter. 
Maria  mater  Dei. 

The  Holy  Family,  with  an  Angel  holding  a  Crown. 
The  Virgin  and  the  Infant  Christ  on  her  Knee,  with  a 

Female  Saint  holding  a  Palm. 
The  Holy  Family,  with  the  Infant  sleeping  in  the  Arms 

of  the  Virgin. 
The  Holy  Family  in  a  landscape,  with  several  Angels. 
Christ  crowned  with  Thorns ;  very  fine. 
The  Elevation  of  the  Cross. 
The  Crucifixion,  a  grand  composition,  with  two  Men  on 

horseback,  and   a   figure   presenting  the  Sponge   to 

Christ.     On  the  other  side,  the  Virgin  Mary  and  St. 

John  standing,  and   Mary  Magdalene   kneeling  and 

embracing  the  Cross.     This  is  considered  one  of  the 

most  beautiful  engravings  by  Bolswert.    In  the  first 

159 


A  BIOGRAPHICAL  DICTIONARY  OF 


impressions,  which  are  very  scarce,  the  hand  of  St. 
John  is  not  seen  on  the  shoulder  of  the  Virgin :  in 
the  second  impressions,  the  hand  of  St.  John  rests 
on  the  Virgin's  shoulder,  and  the  name  of  Van  Dyck 
is  changed  from  the  left  to  the  right  hand  comer 
of  the  plate.  In  the  last  impressions  the  hand  was 
erased,  probably  to  give  tnem  the  appearance  of  first 
impressions,  but  the  trick  is  easily  discovered  by  the 
superiority  of  the  first  in  point  of  clearness  and 
colour. 

SUBJECTS   AFTER   KTJBENS. 

The  Brazen  Serpent;  the  best  impressions  are  those 
which  have  the  word  ^ntlcerpit^  at  the  right  hand 
comer,  without  the  name  of  G.  Hendrix. 

The  Marriage  of  the  Virgin ;  the  best  impressions  have 
the  name  of  Hendrix^  without  the  word  Atittcerpia: 

The  Annunciation ;  the  best  impressions  are  those  with 
the  address  of  Jif.  van  d^n  Enden. 

The  Nativity ;  the  best  impressions  have  the  same  ad- 
dress. 

The  Adoration  of  the  Magi :  the  tame. 

The  Return  of  the  Holy  Family  from  Egypt ;  the  same. 

The  Feast  of  Herod,  with  Herodias  presenting  the  Head 
of  St.  John  to  her  Mother. 

The  Executioner  giving  the  Head  of  St.  John  to  He- 
rodias. 

The  miraculous  Draught  of  Fishes ;  in  three  plates. 

Christ  crucified  between  the  Thieves  ;  G-.  Hendrix  exc. 

The  Crucifixion,  a  Soldier  on  horseback  piercing  the 
side  of  our  Saviour ;  dated  1631 :  extremely  fine. 

The  Crucifixion,  with  the  city  of  Jerusalem  in  the  dis- 
tance ;  M.  van  den  Enden  exc. 

The  Dead  Christ  in  the  Lap  of  the  Virgin  Mary,  with 
St.  Francis ;  the  same  subject  is  engraved  by  Pontius. 

The  Resurrection  ;  Jf.  van  den  Enaejt  excudit. 

The  Ascension ;  the  same. 

The  Four  Evangelists. 

The  Fathers  of  the  Church ;  Sic.  Lauwers  exc. 

The  Destruction  of  Idolatry ;  in  two  sheets ;  the  tame. 

The  Triumph  of  the  Church  ;  in  two  sheets ;  the  same. 

The  Immaculate  Conception  :  Ant.  Bon.  Enfant  exc. 

The  Assumption  ;  arched  ;  M.  ran  den  Enden  exc. 

The  Assumption,  with  one  of  the  Disciples  lifting  the 
Stone  of  the  Sepulchre ;  il.  van  den  Enden  ;  the  im- 
pressions with  the  address  of  G.  Hendrix  are  posterior, 
and  those  with  the  name  of  C  van  Merlcn  are  re- 
touched. 

The  Infant  Jesus  embracing  the  Virgin  Mary ;  31,  ran 
den  Enden  exc. 

The  Virgin  Mary  holding  a  Globe,  and  the  Infant  Jesus 
holding  a  Sceptre. 

The  Holy  Family,  with  the  Infant  Jesus  and  St.  John 
caressing  a  Lamb. 

The  Holy  Family,  with  a  Parrot  on  a  Pillar ;  A.  JBonen- 
fant  exc. 

St.  Ignatius  and  St.  Francis  Xavier ;  the  first  impres- 
sions are  before  the  name  of  Eubens. 

The  Education  of  the  Virgin  by  St.  Anne ;  the  best  im- 
pressions are  without  the  name  of  Hendrix. 

St.  Cecilia ;  very  fine. 

St.  Theresa  at  the  Feet  of  Christ,  interceding  for  the 
Souls  in  Purgatory  ;  J/,  van  den  Ejiden  exc. 

The  Continence  of  Scipio ;  the  best  impressions  are  be- 
fore the  address  of  G.  Hendrix. 

Sileuus,  drunk,  supported  by  a  Satyr,  with  another 
figure  ;  the  best  impressions  are  those  with  the  name 
of  Bolsteert  only,  without  the  address. 

LANDSCAPES   AND   HDXTIXGS. 

A  grand  Landscape,  deluged  by  a  Torrent ;  in  a  moun- 
tainous part  of  it  the  subject  of  Baucis  and  Philemon. 

A  large  Landscape,  with  a  view  of  the  Sea-coast  and  a 
Shipwreck. 

A  grand  woody  Landscape,  with  the  Chase  of  Meleager 
and  Atalanta. 

A  view  near  Mechlin,  with  Haymakers  and  a  "Waggon, 
and  figures  driving  Cattle. 

A  view  of  a  Stable  with  Horses  and  Cows,  and  the  sub- 
ject of  the  Prodigal  Son, — These  five  landscapes  are 
highly  esteemed  and  finely  executed. 

A  set  of  twenty  smaller  Landscapes. 

A  set  of  twelve  Himtings  of  different  animals,  of  which 
one  is  a  Lion  Hunt,  with  figures  on  horseback ;  very 
spirited  and  fine. 

160 


BOLT,  JoHANN  Fbiedrich,  an  engraver  who 
worked  principally  in  stipple,  was  born  at  Berlin 
in  1769,  and  died  there  in  1836.  He  was  a  pupil 
of  D.  Berger.  His  best  works  are  after  Cranach, 
Ramberg.  and  Dahling. 

BOLTON,  James,  a  pupil  of  B.  Clowes,  the 
engraver,  was  known  as  a  flower  painter  in  water 
colour  in  the  North  of  England.  He  died  near 
Halifax  in  1799  (Redgrave). 

BOLTRAFFIO.     See  Beltraffio. 

BOLZETTA.     See  Cadorin,  Matthias. 

BOM,  Pieter,  a  Flemish  artist,  who  painted 
landscapes  in  distemper,  was  bom  at  Antwerp  in 
1530.  He  was  admitted  into  the  Guild  of  St.  Luke 
in  1560,  and  became  dean  of  that  corporation  in 
1699.     The  date  of  his  death  is  not  known. 

BOMBELLI,  Sebastiano,  was  bom  at  TJdine  in 
1635.  and  was  a  schohar  of  Guercino.  He  after- 
wards went  to  Venice,  where  he  studied  and  copied 
the  works  of  Paolo  Veronese  and  Tintoretto  with 
so  much  success  that  some  of  his  reproductions  are 
scarcely  to  be  distinguished  from  the  originals.  He 
painted  historical  pieces  in  the  early  part  of  his  life, 
but  from  the  lucrative  prospect  opened  to  him  in 
portraits,  he  was  induced  to  devote  himself  to  that 
branch  of  the  art,  although  he  had  already  painted 
some  historical  pictures  of  great  promise.  He 
visited  most  of  the  courts  of  Germany,  where  he 
painted  portraits  with  success.  Boschini  says  that 
for  portraits  he  could  not  be  surpassed.  He  died 
in  1724.  The  Belvedere  at  Vienna  possesses  a 
portrait  of  Francesco  de'  Medici  by  him,  and  his 
own  portrait  by  himself  is  in  the  Uffizi,  Florence. 

BONACINA,  Giovanni  Battista,  an  engraver, 
was  bom  at  Milan  about  the  year  1620.  He  engraved 
some  plates  of  portraits  and  historical  subjects  in 
a  neat  style,  though  rather  dry  and  stiff.  They  are 
executed  entirely  with  the  graver,  and  he  seems  to 
have  imitated,  \vithout,  however,  equalling,  the  style 
of  Cornells  Bloemaert.  We  have  the  following  by 
him : 

PORTRAITS. 
Pope  Clement  K. 
Guido  Visconti. 
Hermes  Visconti. 
Giovanni  Battista  Conte  Tmchi. 

SUBJECTS. 

The  Alliance  of  Jacob  and  Laban ;  after  Ptetro  da  Cor- 

tona. 
St.  Martin  kneeling  before  the  Virgin  and  Infant  Jesos ; 

after  the  same. 
The  Holy  Family,  with  St.  Catharine  and  St.  John ; 

after  A  ndrea  del  Sarto. 

BONASIA,  Bartolommeo,  is  the  author  of  a 
Pieta  in  the  Modena  Gallery,  signed  '  Hoc  opus 
pinxit  Bartholomeus  de  Bonasciis,'  and  dated  1485. 

BONASONE,  Gujlio,  (or  Buonasone,)  an  Italian 
painter  and  very  distinguished  engraver,  was  bom 
at  Bologna  about  the  year  1498,  and  worked  from 
1521  to  1574.  He  studied  painting  under  Lorenzo 
Sabbatini,  and  there  are  some  of  his  works  in 
the  churches  at  Bologna  ;  particularly  in  San 
Stefano  is  a  fine  picture  by  him  of  the  '  Souls 
in  Purgatorj-.'  He  is,  however,  much  more  cele- 
brated as  an  engraver  than  a  painter,  and  in  this 
branch  of  art  had  the  advantage  of  being  educated 
by  Mare-Antonio.  Bonasone  has  engraved  after  the 
works  of  Michelangelo,  Raphael,  Giulio  Romano, 
Parmigiano,  and  others,  and  several  plates  from 
his  own  designs.  His  prints,  with  a  very  few 
exceptions,  are  entirely  worked  with  the  graver, 
and  although  his  style  is  neither  so  clear,  firm,  nor 


PAINTERS  AND  ENGRAVERS. 


masterly  a8  that  of  his  admirable  instructor,  nor 
his  outline  so  correct  and  pure,  his  works  are  exe- 
cuted with  great  facility  and  considerable  elegance, 
and  they  are  held  in  no  small  degree  of  estimation 
by  the  judicious  collector.  We  admire  in  his  prints 
an  excellent  distribution  of  the  lights  and  shadows, 
and  a  breadth  in  the  masses  that  is  very  masterly. 
His  plates  are  generally  marked  with  his  name, 
either  at  length  or  contracted,  as  Julio  Bonoso, 
and    sometimes    with  the   initials   B.,   I.  B.,   or 


/.  B.  F.,   and  also  with  the  cipher  /"\g-    His 

work  is  considerable  ;  the  following  is  a  list  of  his 
plates  most  worthy  of  notice  : 

PORTRAITS. 
The  Pope  Marcellus  II.,  without  the  name ;  scarce. 
Philippus  Hispaniarum  princeps,  Caroli  V.  filius ;  Julio 

S.F. 
Cardinal  Pietro  Bembo.    ^t.  77  ;  after  Titian. 
Raphael  d'Urbino,  with  and  without  the  name. 
Michelangelo  Buonarroti;  circular. 
Francisci  Flori  Antwerpiani  inter  Belgos  pictoris. 
Joannes  Bernardinus  Bonifacius,  &c.     m.d.xlviii. 
Cardinal  Ardingbello ;  after  a  monument. 

SUBJECTS  OF  SACEED  HISTORY. 

Adam  and  Eve  ;  after  his  own  design. 

Adam  tilling  the  Earth  and  Eve  spinning ;  the  same. 

The  Holy  Family ;  J.  Bonasone,  Tnventore. 

The  Nativity  ;  the  same. 

The  Resurrection  ;  the  same. 

Twenty-nine  of  the  Passion;  entitled  Passio  Domini 

nri.  Jesu  Christi ;  Julii  Bonasonis  opus,  &c. 
Thirteen  of  the  Life  of  the  Virgin  ;  marked  with  a  B., 

and  some  of  them  with  a  D. 
Adam   and  Eve  driven  from  Paradise ;    after  Amico 

Aspertino. 
St.  George ;  after  Giulio  Romano ;  with  the  names  of 

the  artists. 
The  Holy  Family  ;  after  the  same. 
The  Nativity,  a  grand  composition  ;  attributed  to  Giulio 

Romano. 
The  last  Judgment ;  after  Michelangelo  ;  inscribed  Julius 

Bonasonius  Bonone proprid  Michaelis  Angeli,  &c. 
Solomon,  David,  and  Jesse,  part  of  the  Sistine  Ohapel ; 

after  the  same  ;  Julio  Bonasone  imitando^  &c. 
The  Creation  of  Eve ;  after  the  same  ;  with  his  name. 
Judith  with  her  Servant  coming  out  of  the  Tent  of 

Holofemes ;  after  the  same. 
The  Miracle  of  the  Manna,  and  Moses  striking  the  Rock, 

on  the  same  plate  ;  F.  Parmesanino  inv. ;  Julio   Bo- 

lognese  fee.    1546. 
Another  Nativity  ;  after  Parmigiano. 
St.  Joachim  and  St.  Anne,  presenting  the  Virgin  Mary 

to  the  High  Priest ;  after  the  same. 
The  Virgin  Mary  and  Imant  Jesus  in  the  Air ;  after  the 

same,  F.  P.  I.  V. ;  J.  Bonasonis  imitando,  &c. 
St.  Peter  and  St.  John  healing  the  Lame ;  after  Perino 

del  Vaga, 
St.  Paul  preaching  ;  oval ;  after  the  same. 
Christ  seated  on  the  Tomb,  supported  by  two  Angels, 

with  the  Virgin  Mary  and  St.  John ;  after  Polidoro  B. 

1532. 
The   Nativity  of  John  the  Baptist ;   after  Pontormo  ; 

Jacobus  Florentinus  Inventor,  Julio  B.  F. 
St.  Cecilia ;  after  Raphael. 
Christ  meeting  St.  Peter  ;  after  the  same. 
St.  Peter  made  Head  of  the  Church  ;  after  the  same. 
Noah  coming  out  of  the  Ark  ;  after  the  same. 
Joseph  sold  by  his  Brethren  ;  after  the  same. 
The  Cup  found  in  Benjamin's  Sack ;  with  the  names  of 

Raphael  and  Bonasone. 
The  dead  Christ  on  the  Tomb,  with  the  Virgin  Mary ; 

after  Raphael,  without  the  name  of  the  engraver. 
The   Entombment  of    Christ;    after   Titian,  with   the 

names  of  the  painter  and  engraver.     1563. 

SUBJECTS   OF   PROFANE   HISTORY. 
Alexander    with  Bucephalus  and  Roxana ;    circular ; 
Julio  Bonasone,  inventore. 
M 


The  Triumph  of  Oupid  and  Psyche ;  Julio  Bonasone, 

inventore 
Apollo  in  his  Car,  with  the  Hours,  and  Time  walking  on 

Crutches  before  ;  L.  V.  B.  Julio  Bonasone,  inventore. 
Scipio  wounded,  retiring  from  the  Battle  ;  /.  V.  Bonoso 

imitando,  &c. 
Clelia,  with  one  of  her  companions,  on  Horseback  escap- 
ing from  the  Camp  of  Porsena ;  /.  V.  Bonoso  imitando, 

&c. 
Twenty — Of  the  History  of  Juno,  with  Italian  ver'ses ; 

after  his  own  designs 
The  Fall  of  Phaeton ;  after  Michelangelo. 
Three  Female  Figures  with  Veils ;  after  the  same. 
The  Shipwreck  of  ^neas  ;  after  Parmigiano. 
Niobe  and  her  Children  ;  after  Perino  del  Vaga.    1541. 
The  Roman  Charity  ;  a  frieze  ;  after  Polidoro. 
Mars  and  Venus  ;  after  Primaticcio. 
Achilles  dragging  the  Body  of  Hector  ;  after  the  same. 
The  Taking  of  Troy ;  after  the  same ;  two  sheets.    1545 

Bonasonis  F. 
The  Rape  of  Europa ;  after  Raphael ;  with  the  names. 
Venus  attended  by  the  Graces ;  after  the  same. 
The  Birth  of  Adonis ;  dated  1586. 

There  are  also  several  plates  of  free  subjects  and 
statues,  bassi-rilievi,  and  architectural  subjects,  de- 
scribed in  Heinecken's  '  Dictionnaire  des  Artistes.' 
Cumberland's  Catalogue  of  the  prints  of  Giulio 
Bonasone  is  the  most  accurate  that  has  hitherto 
been  published. 

BONATO,  Pietro,  a  pupil  of  Volpato,  was  born 
at  Bassano  in  1765,  and  died  in  1820.  He  engraved 
plates  after  Reni,  Correggio,  &c. 

BONATTI,  Giovanni,  was  bom  at  Ferrara  in 
1635,  and  having  shown  an  early  inclmation  for 
the  art,  he  was,  at  the  age  of  fourteen,  taken  into 
the  protection  of  Cardinal  Carlo  Pio,  who  placed 
him  in  the  school  of  Guercino,  under  whom  he 
studied  three  years.  He  afterwards  went  to  Rome, 
where  he  became  a  scholar  of  Pietro  Francesco 
Mola.  He  was  employed  in  several  works  for  the 
public  edifices.  In  the  gallery  of  the  Capitol  are 
two  pictures  by  this  master,  one  representing 
Rinaldo  and  Armida,  the  other  Sisera  and  Jael. 
There  are  other  works  by  him  in  the  Chiesa  Nuova, 
and  Santa  Croce  in  Gerusalemme  at  Rome,  where 
he  died  in  1681.  In  the  Uffizi  is  a  'St.  Charles 
Borromeo '  by  him. 

BONA  VERA,  Domenico  Maria,  an  Italian  en- 
graver, was  born  at  Bologna  about  the  year  1650. 
He  learned  the  art  of  engraving  from  his  uncle 
Domenico  Maria  Canuti.  His  plates  are  chiefly 
etched,  and  finished  with  the  dry  point.  He  en- 
graved eighteen  plates,  from  the  designs  of  Titian, 
for  a  book  of  anatomy  for  the  use  of  students. 
He  used  a  cipher  similar  to  that  of   Dominique 

Barriers  and  of  Domenico  Bettini,  Xj) .    We  have 
the  following  prints  by  him  : 

The  Baptism  of  our  Savioiu-  by  St.  John ;  after  Albani ; 
D.  Bonavera  sc.  {one  of  his  best  works). 

St.  Anne  teaching  the  Virgin  Mary  to  read ;  after  Bom. 
Maria  Canuti  ;  Bom.  Bonavera  fee. 

St.  Theresa  with  the  Infant  Jesus ;  after  the  same. 

The  Martyrdom  of  St.  Christiana ;  after  the  same  (one 
of  his  best  works). 

St.  John  preaching ;  after  Lodov.  Carracci ;  D.  Bonavera. 

Lot  and  his  Daughters ;  after  Ann.  Carracci;  D.  Bona- 
vera. 

The  Cupola  at  Parma,  the  Assumption ;  after  Correggio  ; 
Domenico  Bonavera  sc.    1697. 

BONAY,  Francisco,  a  Spanish  landscape  painter, 
was  born  at  Valencia  in  1655,  and  died  in  Portugal 
in  1730.  His  landscapes  are  ornamented  with 
buildings  after  Perelle,  and  cattle  in  the  manner 
of  Berchem.  His  chief  work  is  a  landscape  in 
the  sacristy  of  the  Carmelites  at  Valencia. 

161 


A  BIOGBAPHICAL  DICTIONARY  OF 


BONCONSIGLIO.    See  Buonconsiglio. 

BONCUORE,  Giovanni  Battista,  was  bom  at 
Abruzzo  in  1643,  and  studied  at  Rome  under  Fran- 
cesco Albani.  He  painted  historical  subjects  with 
considerable  success,  and  his  pictures  are  distin- 
guished by  great  force  and  vigour  of  effect,  though 
sometimes  heavj'  in  the  execution.  One  of  his  most 
esteemed  works  is  an  altar-piece  in  the  Chiesa  degli 
Orfanelli,  at  Rome.     He  died  in  1699. . 

BOND,  John  Daniel,  a  landscape  painter  of 
Birmingham,  flourished  in  the  latter  half  of  the 
eighteenth  century.  He  died  near  Birmingham  in 
1803,  aged  78. 

BOND,  R.  Sebastian,  landscape  painter,  was 
born  at  Liverpool  in  1808.  He  was  educated  in 
his  native  citv,  and  practised  there  for  the  greater 
part  of  his  life,  settling  finally  at  Bettws-y-Coed. 
He  occasionally  exhibited  in  London  between  1846 
and  1872,  but  most  of  his  works  appeared  at 
Liverpool  and  in  the  midland  counties.  He  died 
in  February  1886. 

BOND,  William,  was  one  of  the  engravers  of 
the  portraits  of  Sir  Joshua  Rej-nolds.  His  talents 
are  well  exemplified  in  the  portraits  which  he 
executed  for  Yorke's  '  Royal  Tribes  of  Wales,'  pub- 
lished in  1799.  It  is  beUeved  that  he  died  early  in 
the  nineteenth  century.  He  was  Governor  of  the 
Society  of  Engravers,  founded  in  1803. 

BONDONE,  Giotto  di,  commonly  called  Giotto, 
the  founder  of  the  noble  line  of  Italian  painters, 
was  the  son  of  a  peasant  named  Bondone,  and 
was  born  in  the  little  village  of  CoUe  in  the 
commune  of  Vespignano,  not  many  miles  to 
the  north  of  Florence.  Vasari  gives  1276  as 
the  date  of  his  birth,  but  Antonio  Pucci  in  his 
'  Centiloquio  '  speaks  of  him  as  being  seventy  years 
of  age  at  the  time  of  his  death  in  1336,  which 
would  make  the  date  of  his  birth  1266.  This 
latter  date  is  accepted,  not  without  reason,  by 
several  modern  writers,  who  prefer  to  trust  certain 
internal  evidence  regarding  tlie  master's  life  and 
works,  rather  than  the  oft-times  uncertain  testi- 
mony of  Vasari.  The  pretty  story,  also,  that  tells 
how  the  famous  painter  Cimabue  first  saw  the 
shepherd  boy  Giotto  drawing  one  of  his  sheep  upon 
the  smooth  surface  of  a  rock,  is  relegated  by  modem 
authorities  to  the  realms  of  fable.  It  was  Ghiberti 
who  first  told  this  pastoral  anecdote  in  his  '  Com- 
mentario,'  and  it  was  merely  repeated  by  Vasari ; 
but  an  anonymous  commentator  on  the  '  Divina 
Commedia,'  who  wrote  at  the  end  of  the  fourteenth 
century,  gives  a  different  account.  This  writer 
states  that  Giotto  was  apprenticed  by  his  father 
to  a  dealer  in  wool,  but  that  on  the  way  to  his 
work  he  always  went  into  Cimabue's  bottega,  and 
finally,  being  nussed  for  some  time  by  his  master, 
he  was  found  there  painting  busily,  whereupon, 
following  the  advice  of  Cimabue,  his  father 
took  him  from  the  wool  trade  and  placed  him 
a.s  a  pupil  with  Cimabue.  Whatever  truth  there 
may  be  in  this  or  other  legends  touching  Giotto's 
boyhood,  it  is  fairly  probable  that  he  did  study,  for 
a  time  at  least,  under  the  guidance  of  Cimabue, 
although  it  is  the  opinion  of  some  modem  critics 
that  much  of  his  earlier  training  was  acquired  at 
Rome  and  even  at  Assisi.  In  the  absence,  how- 
ever, of  any  recognizable  work  belonging  to  this 
more  j'outhful  period  of  his  career,  all  set  opinions 
regarding  his  early  artistic  education  must  remain 
more  or  less  matters  of  conjecture.  Whoever  may 
have  been  his  first  masters,  he  soon  began  to  follow 
a  far  greater  teacher  than  any  of  these,  no  other, 

162 


indeed,  than  Nature  herself,  who  had  been  so  long 
neglected  for  Tradition.  Traditionary  types  soon 
failed  to  satisfy  the  daring  young  innovator.  His 
genius  led  him  at  an  early  stage  to  look  at  nature 
for  and  by  himself,  and  in  so  doing  he  effected  a, 
total  change  in  the  spirit  of  the  painting  of  hia 
time — a  change  similar  to,  although  in  its  after- 
workings  far  more  complete  than  that  which  had 
been  already  initiated  in  the  field  of  sculpture, 
some  years  before,  by  the  Pisani.  It  is  more  than 
probable  that  Giotto  himself  owed  no  small  debt 
to  the  example  of  these  great  sculptors — and  more 
especially  to  that  of  his  contemporary  Giovanni — 
in  the  right  direction  of  his  own  ideals,  and  even  in 
the  formation  of  his  style  and  taste.  The  influence 
of  Giovanni's  art  upon  Giotto  is  distinctly  to  be 
traced  in  many  of  the  latter's  works,  and  there  is 
every  reason  to  believe  that  the  sculptor's  power- 
ful personality  acted  as  an  incentive  of  no  small 
account  in  first  pointing  out  to  the  young  painter 
the  right  road  to  the  free  expression  of  his  latent 
artistic  impulses.  Once  upon  the  right  path,  Giotto's 
great  powers  of  naturalistic  expression  evidently 
developed  themselves  with  wonderful  rapidity, 
enabling  him  to  break,  almost  at  once,  the  bonds  of 
tradition  which  bound  so  many  lesser  men,  and  to 
>  open  the  way  to  an  entirely  new  and  original 
school  of  painting.  In  estimating  the  value  of  his 
work  we  must  therefore  regard  not  only  that  which 
he  individually  accomplished,  but  also  the  influence 
of  his  example  upon  those  who  came  after  him. 
He  led  the  way,  and  all  the  great  naturalistic 
artists  of  the  next  two  centuries  but  followed  in 
the  path  that  he  pointed  out.  In  his  unswerving 
fidelity  to  the  naturalistic  ideal,  he  soon  surpassed 
those  very  Pisan  stone-cutters  from  whom  he  had 
probably  received  his  first  inspiration,  and  so 
powerful  and  lasting  was  the  influence  which  he 
left  behind  him,  that  it  was  directly  felt  by 
sculptors,  as  well  as  painters,  long  after  the  school 
of  Pisa  had  died  a  natural  death. 

As  has  already  been  said,  it  is  difficult  to  trace 
satisfactorily  Giotto's  development,  so  many  of  his 
early  works  having  perished.  Some  of  his  earliest, 
according  to  Vasari,  were  undertaken  for  the  Badia 
of  Florence,  and  he  mentions  especially  an  'An- 
nunciation,' wherein  fear  and  astonishment  were 
most  wonderfully  depicted  on  the  face  of  the 
Virgin.  All  the  paintings  in  the  Badia  have  been 
destroyed,  although  the  '  Annunciation '  that  called 
forth  Vasari's  admiration  is  supposed  by  some  to 
have  been  a  work  by  Lorenzo  Camaldolense,  now 
in  the  Accaderaia  at  Florence.  Other  paintings, 
in  Arezzo,  have  shared  a  fate  similar  to  that  of 
those  in  the  Badia. 
-i  Opinions  now  differ  widely  regarding  the 
chronological  sequence  of  Giotto's  remaining 
works,  recent  criticism  having  considerably  altered 
the  generally  accepted  arrangement  of  the  master's 
paintings.  The  prevalent  opinion,  still  upheld  by 
the  great  majority  of  critics,  which  places  the 
famous  frescoes  of  the  Life  of  St.  Francis,  in  the 
upper  church  at  Assisi,  first  on  the  list,  appears  to 
be  based  on  tradition  rather  than  upon  any  critical 
study  of  the  works  themselves,  and  it  is  undoubt- 
edly to  Rome  that  we  must  look  for  the  oldest  of 
the  master's  recognizable  productions.  We  know 
for  a  fiict  that  Giotto  was  present  in  the  latter  city 
in  1298,  that  he  executed  in  that  year,  for  his 
patron  Cardinal  Stefaneschi,  nephew  of  Boniface 
VIII.,  the  famous  mosaic  of  the  '  Navicella,"  and 
that  he  also  finished,  at  about  this  same  period,  at 


GIOTTO  DI  BONDONE 


GIOTTO 


THE  FINAL  JUDGMENT 


[Arena  Chapel,  Padua 


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PAINTERS  AND  ENGRAVERS. 


the  order  of  the  same  prelate,  a  large  high-altar- 
piece  for  the  church  of  St.  Peter.  But  one  of  these 
works  can  be  rightly  said  to  have  been  preserved 
to  us.  The  '  Navicella  ' — an  allegorical  represent- 
ation of  the  Catholic  Church,  wherein  the  Apostles 
are  seen  in  a  boat,  with  Christ  saving  St.  Peter  from 
the  waves — although  still  shown  to  the  public  in 
the  portico  of  St.  Peter's,  may  safely  be  said  no 
longer  to  retain  more  than  a  reminiscence  of 
Giotto's  original  composition,  so  thoroughly  and 
frequently  has  it  been  restored.  The  altar-piece, 
however,  still  remains  almost  complete  in  its 
original  parts,  and  in  a  comparatively  exceptional 
state  of  preservation.  It  was  removed  from  its 
ancient  honourable  po.sition  at  the  time  of  the 
destruction  of  the  old  basilica  of  St.  Peter,  and 
now  hangs  dismembered  on  the  walls  of  the 
Sagrestia  dei  Canonici,  in  the  new  church.  Before 
this  great  work,  in  all  probability  the  earliest  of 
the  master's  authenticated  paintings,  Giotto's  real 
position  in  the  history  of  art  becomes  at  once 
apparent.  Were  this  altar-piece  alone  preserved 
to  us  of  all  his  creations,  it  would  still  be  amply 
sufficient  to  uphold  for  him  the  proud  title  of  the 
founder  of  Modern  Painting.  The  most  casual 
comparison  with  the  work  of  his  predecessors  is 
sufficiently  convincing  to  make  clear  at  once  the 
great  transformation  which  the  artist  here  succeeded 
in  effecting.  His  figures  are  dignified  and  also 
graceful,  at  times  reminiscent  of  the  antique,  but 
never  a  mere  copy  of  it ;  the  folds  of  his  draperies 
are  at  once  simple  and  flowing,  clearly  showing 
the  contours  of  the  body,  in  utter  contrast  to  the 
minute  and  oft-times  meaningless  lining  of  the 
Byzantine  artists ;  his  representation  of  movement 
is  free  and  unconstrained.  It  is  precisely  in  his 
development  of  these  last-named  qualities,  and 
especially  in  that  of  Form,  that  Giotto  achieved 
his  greatest  artistic  triumphs.  So  important  a 
factor  in  his  art  is  this  same  quality  of  Form,  that 
it  is  almost  solely  upon  a  study  of  this  distinctive 
feature  that  Giotto's  latest  critics  have  based  their 
chronological  arrangement  of  his  works.  Again, 
in  the  matter  of  colour,  he  has  placed  before  us 
something  differing  entirely  from  the  painting  of 
his  time.  But  what  is  equally  in  contrast  to  the 
work  of  his  Italian  and  Byzantine  predecessors,  is 
the  individual  expression  of  his  figures — and  it 
was  doubtless  this  which  most  strongly  impressed 
his  contemporaries.  "The  persons  in  grief  look 
melancholy,"  exclaims  an  old  writer  in  speaking 
of  his  work,  "  and  those  who  are  joyous  look  gay." 
Such  naturalism  must  indeed  have  been  irresistible 
in  its  effects  on  a  public  so  long  accustomed  to  the 
rigid  conformity  of  Byzantine  types. 

Of  the  other  works  which  Giotto  is  known  to 
have  executed  in  Rome,  none  now  remain  except 
the  fragment  of  a  fresco  in  San  Giovanni  in 
Laterano,  representing  Boniface  VIII.  in  a  balcony, 
announcing  the  opening  of  the  Jubilee  of  1300. 

We  are  in  ignorance  as  to  when  Giotto  under- 
took his  first  commission  at  Assisi,  but  of  the  long 
series  of  frescoes  which  he  has  left  in  the  church 
of  San  Francesco  in  that  town,  the  earliest,  repre- 
senting scenes  from  the  Lives  of  the  Virgin  and  of 
Christ,  in  the  right  transept  of  the  Lower  Church, 
appear,  in  point  of  style,  to  belong  to  a  period 
closely  following  on  the  completion  of  the 
Stefaneschi  altar-piece,  with  which  they  have 
much  in  common.  In  charm  of  colour  and  grace 
of  expression,  these  works  are  to  be  classed  among 
the  most  pleasing  of  all  the  master's  creations — 

M  2 


while  in  depth  of  feeling  and  dignity  of  conception, 
the  last  fresco  of  the  series,  representing  the  Cruci- 
fixion, remains  among  the  masterpieces  of  early 
Italian  painting,  far  surpassing  the  later  and 
more  realistic  treatment  of  the  same  subject  in 
the  Paduan  Arena.  The  famous  allegories  of 
'Poverty,  Chastity,  and  Obedience,'  and  the 
'  Glorification  of  St.  Francis,'  on  the  central  ceiling 
of  the  Lower  Church,  come  next  in  order,  and  are 
too  well  known  to  require  special  description.  It 
is  sufficient  to  say  that  they  show  a  marked 
technical  advance  over  the  master's  earlier  work, 
and  in  them  Giotto  has  given  special  prominence 
to  his  sense  of  decorative  effect,  entirely  disprov- 
ing the  common  assertion  that  he  was  lacking  in 
this  latter  quality  of  his  art.  From  these  alle- 
gories we  may  pass  to  the  three  interesting 
frescoes  in  the  right  transept,  representing  certain 
miracles  of  St.  Francis — works  which  exhibit  a 
decided  tendency  toward  a  more  realistic  style  of 
treatment  than  is  to  be  found  in  any  of  the  master's 
previous  creations.  Before  leaving  the  Lower 
Church,  mention  must  also  be  made  of  the  paint- 
ings, generally  attributed  to  Buffalmacco  and 
Taddeo  Gaddi,  in  the  Chapel  of  the  Magdalen, 
several  of  which  clearly  show  Giotto's  own  handi- 
work. Two  of  these,  one  representing  the 
Magdalen  anointing  Christ's  feet,  the  other  the 
Raising  of  Lazarus,  are  especially  noticeable  for 
strong  dramatic  treatment,  and  closely  foreshadow 
the  later  work  at  Padua.  Others  of  these  frescoes 
show  the  co-operation  of  assistants,  and  are  un- 
equal in  merit. 

-  The  long  series  of  paintings  in  the  Upper 
Church,  depicting  the  principal  events  of  St. 
Francis'  life,  has  given  rise  to  endless  discussions 
among  art  critics  of  the  past  half-century.  By  the 
great  majority  of  writers  these  frescoes  are  still 
looked  upon  as  the  earliest  of  Giotto's  extant 
works — an  opinion  doubtless  having  rise  in  the 
tradition  that  Giotto  here  carried  on  and  com- 
pleted '  Cimabue's  '  earlier  work,  and  also  in  great 
measure  due  to  the  changed  appearance  given 
these  frescoes  by  excessive  and  total  repaint. 
Sufficient  may  still  be  gathered,  however,  from 
what  remains,  to  clearly  prove  their  real  position 
in  the  chronological  order  of  Giotto's  works.  The 
advanced  feeling  for  form,  the  energy  of  movement 
and  simplicity  of  narration,  so  clearly  shown 
throughout  the  greater  part  of  this  remarkable 
series,  surely  point  to  a  date  of  execution  posterior 
to  all  the  frescoes  in  the  Lower  Church,  and  but 
shortly  preceding  those  in  the  Arena  Chapel.  The 
last  nine  subjects  of  this  pictured  history,  relating 
to  the  death  and  miracles  of  the  Saint,  exhibit  a 
marked  divergence  in  style  from  those  that  pre- 
cede them,  and  are  probably  by  the  same  unknown 
pupil  of  the  master  to  whom  are  due  the  frescoes 
in  the  chapel  of  St.  Nicholas,  in  the  Lower 
Church. 

It  is  not  quite  certain  at  what  date  Giotto  went 
to  Padua ;  but  the  Scrovegno  Chapel,  in  the  old 
Arena  of  that  city,  was  not  built  until  1303,  and 
it  was  its  founder,  Enrico  Scrovegno,  a  noble 
citizen  of  Padua,  who  employed  Giotto  to  decorate 
it.  The  undertaking  was  an  arduous  one,  but 
the  result  was  equal  to  the  opportunity.  In  a 
series  of  thirty-eight  frescoes,  the  master  depicted, 
in  a  triple  course  along  the  walls,  the  histories  of 
the  Virgin  and  of  her  Divine  Son.  Beneath  these 
Unes  of  pictures  were  placed  thoughtfully-con- 
ceived  figures   of  the   antagonistic    Virtues    and 

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A  BIOGRAPHICAL  DICTIONARY  OF 


Vices,  while  the  Last  Judgment  was  painted 
above  the  arch  of  the  doorway,  and  the  An- 
nunciate Virgin,  to  whom  the  chapel  was  dedi- 
cated, was  above  the  opposite  arch.  This  great 
decorative  work  at  Padua  may  well  be  looked 
upon  as  the  culminating  expression  of  Giotto's 
art  Nowhere  do  we  find  his  ideal  of  concise 
directness  of  representation  more  successfully 
expressed  than  is  the  case  here,  and  nowhere  do 
we  find  him  reaching  a  similar  perfection  in  the 
presentation  of  form  and  movement.  The  entire 
decoration  of  this  beautiful  chapel  rightly  takes  a 
foremost  place  among  the  wonders  of  modern  art. 
To  enter  into  a  detailed  mention  of  the  various 
frescoes  would  here  be  impossible.  The  great 
painting  of  the  '  Last  Judgment'  alone  would  offer 
material  sufficient  for  an  almost  endless  study. 
The  influence  of  Dante  was  no  doubt  strong  over 
Giotto  at  the  time  when  he  painted  this  great 
work,  and  it  is  conceived  quite  in  a  Dantesque 
spirit. 

It  is  impossible  to  enumerate  aU  the  works  that 
Vasari  attributes  to  Giotto.  Most  of  these  have 
long  since  perished,  so  that  we  have  only  his  tes- 
timony in  respect  to  thera ;  but  it  would  really 
seem  that  Giotto  went  about  from  one  place  to 
another  in  Italy,  painting  wherever  he  went,  in  the 
manner  Ruskin  describes,  being  regarded  merely 
as  "  a  travelling  decorator  of  walls  at  so  much 
a  day,  having  at  Florence  a  hottega  or  workshop 
for  the  sale  of  small  tempera  pictures."  It  is 
not  certain  whither  Giotto  next  went,  after  his 
work  at  Padua  was  accomplished.  Vasari  states 
that  he  painted  at  various  times  at  Pisa,  Verona, 
Ferrara,  Ravenna,  Urbino,  Arezzo,  Lucca,  and 
Naples,  but  it  is  difficult  to  trace  him  in  these 
cities,  though  here  and  there  some  dilapidated 
fresco  is  assigned  to  him.  At  Naples,  especially, 
an  important  series  of  frescoes,  illustrating  the 
Seven  Sacraments  of  the  church,  in  the  chapel  of 
the  Incoronata,  has  long  been  attributed  to  him, 
but  without  reason,  they  being  evidently  later 
works  by  a  pupil.  It  appears  certain,  from  a 
document  not  long  since  brought  to  light,  that 
Giotto  really  was  in  Naples  in  the  year  1333, 
working  at  the  orders  of  King  Robert,  with  whom 
he  seems  to  have  been  on  terms  of  friendly  in- 
timacy. No  genuine  work  remains  to  us,  however, 
to  testify  to  his  labours  in  that  city. 

In  Florence,  Giotto  painted  no  fewer  than  four 
family  chapels  in  the  then  newly-built  church 
of  Santa  Croce.  All  of  these  chapels  were 
covered  at  different  dates  with  whitewash,  the 
decorations  of  two  of  them  being  irretrievably 
lost  thereby.  Others  of  these  paintings,  however, 
in  the  Bardi  and  Peruzzi  chapels,  have  been  freed 
from  their  covering,  and  although  terribly  re- 
stored and  repainted,  still  afford  the  spectator 
some  idea  of  their  original  beauty.  The  frescoes 
of  the  Bardi  Chapel  illustrate  the  history  of  St. 
Francis,  the  same  subject  that  was  treated  in  the 
earlier  pictorial  history  at  Assisi.  A  comparison 
of  the  two  series  is  interesting.  Although  lacking 
in  the  energy  of  expression  so  characteristic  of 
the  earlier  works,  the  latter  series  shows  a  great 
advance  in  distribution  and  arrangement  In  the 
'  Death  of  St.  Francis,'  more  especially,  Giotto  suc- 
ceeded in  producing  one  of  the  most  perfect  and 
beautiful  compositions  known  to  Italian  art,  and 
one  which  was  repeatedly  copied  both  by  sculptors 
and  painters  during  the  two  centuries  following. 
Ghirlandaio,  as  late  as  the  end  of  the  fifteenth 
164 


century,  copied  Giotto's  composition  closely,  in 
his  well-known  fresco  in  the  church  of  the  SS. 
Triniti.  The  paintings  in  the  Peruzzi  Chapel, 
evidently  of  a  somewhat  later  date,  have  for  their 
subject  scenes  from  the  lives  of  the  Baptist  and  of 
St.  John  the  Evangelist.  Although  in  many  parts 
even  more  ruined  than  their  companions  of  the 
Bardi  Chapel,  they  still  show  Giotto  at  his  best 
as  a  composer,  and  enable  us  to  arrive  at  some 
faint  idea  of  the  monumental  quality  of  his  maturer 
style. 

Still  another  celebrated  series  of  frescoes  in 
Florence — those  in  the  chapel  of  the  Podesti,  or 
Bargello — have  long  been  considered  to  be  by 
Giotto's  hand,  but  they  hardly  stand  the  test 
of  a  severe  critical  examination,  and  are  appar- 
ently the  work  of  an  exceptionally  able  follower 
whose  identity  remains  as  yet  to  be  discovered. 

Apart  from  the  Stefaneschi  altar-piece,  but 
few  genuine  panel-pictures  by  Giotto  have  been 
handed  down  to  us.  Of  those  which  bear  unmis- 
takable signs  of  his  handiwork,  the  best  known 
and  most  important  is  doubtless  the  large  picture 
of  the  Virgin  and  Child  adored  by  Angels,  in  the 
Florence  Academy.  The  Louvre  also  possesses  a 
fine,  though  much-damaged,  altar-piece,  represent- 
ing the  Stigmatizatioa  of  St.  Francis.  A  most 
exquisite  example  of  the  master's  work  is  to  he 
found  in  the  sacristy  of  the  Arena  Chapel  at 
Padua.  Another  genuine  little  painting,  repre- 
senting the  Presentation  of  Christ  in  the  Temple, ' 
is  in  the  possession  of  Mrs.  J.  L.  Gardner, 
of  Boston,  U.S.A.  The  much-quoted  Baroncelli 
altar-piece,  with  its  apocryphal  signature,  although 
still  looked  upon  by  many  otherwise  competent 
critics  as  a  genuine  work,  certainly  shows  nothing 
in  common  with  Giotto's  known  manner,  and  is 
visibly  the  production  of  a  pupil  or  follower  not 
far  removed  from  Taddeo  Gaddi  in  character.  To 
Taddeo  himself  undoubtedly  belong  the  two  long 
series  of  little  panels  still  bearing  Giotto's  name, 
in  the  Accademia  at  Florence. 

Of  Giotto's  private  life  little  is  known.  Like 
Dante  he  appears  to  have  been  devoted  to  the 
Franciscan  order.  He  was  a  man  of  great  natural 
ability,  of  shrewd  understanding  and  sound  com- 
mon-sense, and,  according  to  all  the  anecdotes  that 
are  told  of  him,  was  exceptionally  quick  at  repartee. 
He  married,  at  the  beginning  of  the  fourteenth 
century.  Donna  Ciuta  di  Lapo,  and  had  eight 
children,  remarkable,  it  is  said,  for  their  ugliness. 

Giotto's  last  work  in  Florence  was  as  an  archi- 
tect. In  1334,  after  the  death  of  Arnolfo,  he  was 
made  superintendent  of  the  works  of  Sta.  Maria 
del  Fiore,  and  it  was  from  his  design,  although 
successively  altered  in  its  later  stages  by  Andrea 
Pisano  and  Francesco  Talenti,  that  the  beautiful 
Campanile  of  Florence  arose.  The  lower  range 
of  bas-reliefs  around  this  beU-tower — illustrative 
of  the  Creation  of  Man  and  his  subsequent  occupa- 
tions— were  also  very  probably  executed  under  bis 
influence  and  inspiration,  if  not  from  his  designs, 
by  Andrea  Pisano. 

Giotto  died  at  Florence  on  January  8,  1337, 
iind  was  buried  in  tlie  church  of  Sta.  Maria  del 
Fiore.  His  numerous  pupils  and  followers,  known 
imder  the  general  name  of  Giotteschi,  many  of 
whom  had  already  attained  celebrity  during  the 
master's  own  lifetime,  were  deeply  imbued  by  his 
teaching,  and  carried  on  his  work  with  varying 
success  throughout  the  length  and  breadth  of  Italy 
in  the  same  naturalistic  spirit  as  himselfl 


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PAINTERS  AND  ENGRAVERS. 


BIBLIOGRAPHT. 

Ghiberti.     *  Commentario.' 

Vasari.     Ed.  SansoDi. 

Orowe  and  Cavalcaselle.    '  New  History  of  Painting  in 

Italy.' 
Euskin.     'Giotto  and  his  Works  in  Padua,*  'Mornings 

in  Florence.' 
Chini.     '  Storia  del  Mugello,'  1876. 
Thode.     'Giotto,' 1899. 
Zimmerman.     'Giotto,'  1899. 

Berenson.    '  Florentine  Painters  of  the  Renaissance.' 
Perkins,  F.  M.    '  GioUo,' London,  1902.  F.M.  P. 


BONE,  Henrt,  the  celebrated  painter  in  enamel, 
was  born  at  Truro,  in  Cornwall,  in  1755.  His  first 
employment  was  with  a  manufacturer  of  china  at 
Plymouth ;  he  afterwards  employed  his  talents  at 
Bristol  in  painting  landscapes  and  groups  of  flowers 
to  ornament  porcelain,  by  which  means  he  acquired 
a  thorough  knowledge  of  that  art,  in  which  he  be- 
came so  eminent.  He  removed  to  London  in  1779, 
and  became  distinguished  by  painting  in  enamel 
'The  Sleeping  Girl,'  after  Sir  Joshua  Reynolds. 
But  the  works  that  will  give  him  lasting  fame  are 
the  '  Portraits  of  Illustrious  Englishmen,'  eighty- 
five  in  number,  which  he  enamelled  after  the 
original  pictures  in  the  royal  and  other  collections. 
These  must  have  cost  him  much  labour,  expense, 
and  anxiety ;  but,  unfortunately,  little  pecuniary 
reward.  They  are  now  at  Kingston  L.iey,  Wim- 
borne,  in  the  possession  of  Mr.  Ralph  Bankes. 
In  1811  he  produced  a  copy  in  enamel  (eighteen 
inches  by  sixteen)  of  Titian's  '  Bacchus  and 
Ariadne,'  for  which  he  received  2200  guineas. 
He  was  elected  an  Associate  of  the  Royal  Academy 
in  1801,  and  in  the  same  year  was  appointed 
painter  in  enamel  to  George  III.  In  1811  he  was 
made  a  full  member  of  the  Academy,  and  died  in 
1834,  when  his  miniatures  were  dispersed  by 
auction. 

BONE,  Henry  Pierce,  the  son  of  Henry  Bone, 
was  born  in  1779,  and  was  instructed  in  enamel- 
painting  by  his  father.  He  painted  and  exhibited 
portraits  and  other  subjects  in  oil  from  1799  to  1833, 
when  he  turned  his  attention  definitely  to  enamel 
painting,  which  he  practised  till  1855,  when  he 
died  in  London.  He  was  enamel-painter  to  Queen 
Adelaide,  and  to  Queen  Victoria  and  the  Prince 
Consort. 

BONE,  Robert  Tbewick,  was  born  in  London  in 
1790.  He  was  the  son  of  Henry  Bone,  the  cele- 
brated enamel  painter,  who  instructed  him  in  art. 
He  exhibited  classical  and  sacred  pictures  at  the 
Royal  Academy  and  the  British  Institution  from 
1813  to  1838,  and  succeeded  in  gaining,  in  1817, 
the  £100  premium  for  his  picture  of  '  A  Lady  with 
her  Attendants  at  the  Bath.'     He  died  in  1840. 

BONESI,  Giovanni  Girolamo,  according  to  Za- 
notti,  was  born  at  Bologna  in  1653,  and  was  a 
scholar  of  Giovanni  Viani.  He  painted  several 
pictures  for  the  churches  and  public  edifices  at 
Bologna,  in  which  he  appears  to  have  imitated  the 
style  of  Carlo  Cignani.  Among  his  most  esteemed 
productions  are  the  following :  '  St.  Francis  of  Sales 
kneeling  before  the  Virgin,'  in  the  church  of  San 
Marino ;  '  St.  Thomas  of  Villanuova  giving  Alms 
to  the  Poor,'  in  San  Biagio  ;  and  '  The  Virgin  and 
Infant  Christ,  with  Mary  Magdalene  and  St.  Hugo,' 
at  the  Certosa.     He  died  in  1725. 

BONFANTI,  Antonio,  called  II  Torricella, 
was  a  native  of  Ferrara,  in  which  city  there  are 
Beveral  of  his  works  in  the  churches  and  convents. 


His  most  esteemed  pictures  are  the  'Purification,'  and 
'  Christ  disputing  with  the  Doctors,'  in  the  church  of 
San  Francesco,  and  the  '  Holy  Family '  in  that  of  La 
Santissima  Trinita. 

BONFIGLI,  Benedetto,  (or  Buonpiglio,  )  was 
born  at  Perugia  about  1420.  His  earliest  work  was 
an  '  Annunciation,'  originally  in  the  Orfanelli  at 
Perugia.  His  masterpiece  is  a  series  of  frescoes  in 
the  Palazzo  del  Consiglio  in  the  same  city,  which  re- 
present the  Lives  of  St.  Louis  of  Toulouse  and 
St.  Herculanus ;  they  were  commenced  in  1454  and 
not  finished  in  1496,  in  which  year  Bonfigli's  will 
is  dated.  This  work  occupied  much  of  his  time, 
and  gained  him  considerable  reputation  in  his  native 
city.  An  'Adoration  of  the  Magi,'  said  to  have 
been  painted  in  1460,  in  San  Domenico,  is  con- 
sidered one  of  his  best  productions.  Among  other 
pictures  of  his  may  be  mentioned  a  Banner  {Gon- 
falone)  painted  in  1465  for  the  brotherhood  of  San 
Bernardino,  and  representing  the  deeds  of  their 
patron  saint;  another  Gonfalcme  painted  for  the 
brotherhood  of  San  Fiorenzo  in  1476,  in  honour  of 
the  Virgin,  who  had  been  prayed  to  intercede  for 
the  cessation  of  the  plague  ;  a  '  Virgin  of  Mercy,' 
painted  in  1478  for  the  church  of  the  Commenda 
di  Santa  Croce  ;  and  several  others  in  and  around 
Perugia.  Bonfigli  is  especially  noticeable  for  the 
correctness  of  his  perspective,  the  beauty  of  his 
colouring,  and  his  love  of  detail.  He  was  much 
influenced  by  Domenico  Venezianoand  Pietro  della 
Francesca.  According  to  Lanzi,  Perugino  was 
his  pupil,  but  there  is  nothing  to  corroborate  the 
statement.  We  have  no  record  of  Bonfig-li  after 
1496.  ^ 

BONHEUR,  FRANgois  Atjguste,  painter,  was 
born  at  Bordeaux^in  1824,  and  was  his  father's 
pupil.  He  was  the  brother  of  Mile.  Rosa  Bonheur. 
His  first  picture  exhibited  at  the  Salon  was 
'Children  and  Cockchafer,' in  1845.  He  afterwards 
painted  portraits,  but  was  best  known  by  his  land- 
scapes with  cattle.  He  died  of  heart  disease  in  a 
railway  carriage  in  Paris,  February  21,  1884. 

BONHEUR,  Rosaline,  was  born  at  Bordeaux 
in  1822,  and  died  in  Paris  in  July  1899.  Her 
father  was  Drawing-master  and  Director  at  the 
Free  School  of  Design  for  Girls  in  Paris,  but 
Rosaline  was  not  intended  for  the  same  profession, 
and  was  to  have  been  a  dressmaker.  Despite  all 
her  wonderful  success  in  her  father's  school  and 
other  places  of  education,  where  she  carried  off 
all  the  drawing  prizes  and  failed  hopelessly  in 
every  other  branch  of  learning,  she  was  bound 
to  the  business  which  her  parents  had  selected 
for  her,  and  which  they  were  determined  she 
should  adopt.  Her  misery,  however,  was  so  pro- 
found that  her  father  relented,  took  her  away 
from  business,  undertook  her  training  himself,  and 
allowed  her  to  sketch  and  paint  to  her  heart's 
delight.  '  Goats  and  Sheep'  was  exhibited  at  the 
Salon  when  she  was  eighteen,  and  '  Cows  in 
Pasture  '  in  the  following  year,  while  in  1846  she 
had  no  less  than  fourteen  pictures  at  the  Salon, 
and  was  awarded  one  of  its  medals.  This  did  not, 
however,  satisfy  her,  and  she  aimed  at  the  highest 
prize,  gaining  it  in  the  form  of  a  special  first-class 
medal  three  years  afterwards,  when  she  was  but 
twenty-five.  Soon  after  that  her  father  died,  and 
so  great  was  her  genius  that  almost  without  effort 
she  stepped  into  his  vacant  position,  one  which 
had  never  before  been  held  by  a  woman.  'The 
Horse  Fair,'  her  greatest  picture,  was  exhibited 
in  1853.     It  created  a  great  sensation,  was  sold 

165 


A  BIOGEAPHICAL  DICTIONARY  OF 


at  a  very  high  figure,  and  eventually  found  its 
way  to  America  at  a  price  exceeding  twelve  thou- 
sand pounds,  and  is  still  in  New  York.  A  small 
replica  of  it  by  her  own  hands  is  in  the  National 
Gallery.  From  the  time  of  painting  this  picture 
Rosa  adopted  male  attire  and  ever  afterwards 
appeared  in  it,  save  on  one  occasion  when  she 
went  to  greet  her  Empress  and  to  receive  the 
Cross  of  the  Legion  of  Honour.  Other  notable 
works  which  she  executed  were  '  Haymaking  in 
the  Auvergne,'  '  A  Stampede,'  '  Scottish  Raid,' 
'Ploughing  in  the  Nivemais,'  ' Horses  and  Cattle,' 
'  Horses  at  Water,'  '  Horses  for  Sale.'  The  bulk 
of  her  pictures  contained  representations  of  horses, 
and  were  marked  by  much  vigour,  movement  and 
dramatic  effect.  Her  drawing  was  remarkably 
accurate  and  her  colouring  very  truthful.  She 
was  a  successful  artist,  and  was  enabled  to  pur- 
chase a  country  home  at  Fontainebleau,  where  she 
carried  out  most  of  her  later  work.  She  was  a 
woman  of  striking  appearance,  having  a  very  large 
head  covered  with  shaggy  white  hair  which  she 
brushed  up  high  and  wliich  gave  her  a  sort  of 
lion-like  appearance,  but  she  was  a  person  of  strong 
affection  and  a  very  vivacious  companion.  Many 
of  her  best  works  can  be  seen  in  the  Luxembourg 
and  also  in  a  special  gallery  of  her  works  which 
was  founded  sifter  her  decease  in  Paris,      q,  c,  W. 

BONI,  GlACOMO,  was  bom  at  Bologna  in  1688, 
and  was  a  scholar  of  Marc  Antonio  Franceschini, 
whom  he  greatly  aided  in  his  works,  particularly 
at  Rome.  He  is  also  said  to  have  studied  under 
Carlo  Cignani,  whose  style  is  discernible  in  many 
of  his  works,  such  as  the  ceUing  of  Santa  Maria 
della  Costa  at  San  Remo.  and  in  that  of  San  Pietro 
Celestini  at  Bologna.  He  excelled  particularly  in 
fresco,  and  painted  a  saloon  in  the  Palazzo  Pallavi- 
cino,  which  was  much  admired,  and  a  fine  picture 
of  'The  infant  Jupiter.'     He  died  in  1766. 

BONI,  MiCHELE  Giovanni,  known  as  Giambono, 
(sometimes  Zamboko,)  was  a  pupil  and  contem- 
porary of  Jacobello,  and  was  both  a  painter  and 
a  mosaicist.  He  was  bom  at  Venice  about  the 
beginning  of  the  fifteenth  century.  At  the  Academy 
of  that  city  is  a  '  Redeemer  between  St.  Bernardino 
and  other  Saints,'  painted  soon  after  the  canon- 
ization of  that  saint,  which  occurred  about  1470. 
Count  Riva  of  Padua  possesses  a  '  Virgin  and  Child ' 
by  this  artist.  He  also  executed  in  the  Cappella 
de'  Mascoli  in  St.  Mark's,  Venice,  mosaics  repre- 
senting scenes  from  Life  of  the  Virgin. 

BONIFACCIO,  Francesco,  was  born  at  Viterbo 
in  1637,  and  was  a  scholar  of  Pietro  da  Cortona  at 
the  time  that  Ciro  Ferri  and  Romanelli  studied 
under  that  master.  He  was  a  respectable  painter 
of  historical  subjects,  which  he  treated  in  the  man- 
ner of  his  instructor,  and  painted  several  pictures 
for  the  public  edifices  of  his  native  city.  In  the 
Palazzo  Braschi  is  a  picture  by  this  master  of 
'  The  Adulteress  before  Christ.' 

BONIFACCIO,  Natalis,  (or  Bonifazio,)  an 
Italian  engraver  who  flourished  about  the  year 
1590.  His  plates  are  principally  etchings,  which 
are  executed  in  a  free,  spirited  style.  His  most 
considerable  works  were  the  plates  he  engraved  for 
a  book  published  at  Rome  in  1590,  composed  by  D. 
Fontana,  architect  to  Pope  Sixtus  V.,  concerning 
the  removal  of  the  Vatican  obelisks.  He  has  in- 
scribed his  name  on  these  plates,  Natalis  Bonifacius 
Sihenicensis  fee. 

BONIFAZIO  (or  Bonifacio)  is  a  name  borne 
by  three   artists,  who  all  came  originally  from 
166 


Verona.  There  still  exists  much  confusion  as  to 
the  authorship  of  the  various  works  attributed  to 
them.  The  following  notices  show  those  pictures 
which  are  gener  illy  given  to  each  painter. 

Bonifazio  I.,  commonly  called  Bonifazio 
Vebonese,  was  a  follower,  if  not  a  pupil,  of 
Palma  Vecchio.  He  was  also  much  influenced  by 
Giorgione  and  Titian,  and  several  of  his  best 
works,  which  are  remarkable  for  a  Titian-like 
beauty  of  colouring,  have  passed  under  the  names 
of  those  masters.  Bonifazio  I.,  the  most  important 
member  of  the  family,  died  in  1540.  His  works 
are  seen  in  most  Italian  Galleries,  and  in  those 
of  Vienna,  Dresden,  St.  Petersburg,  and  Paris. 
The  following  are  his  principal  productions  : — 

Florence.    Pitti  Pal.    Repose  in  Egypt  {also  ascribed  to 
Paris  B&rdont). 
„  „  Finding  of  Moses  (Jormerly  attri- 

buted to  Giorgione). 
London.  Sai.  Gall.  Santa  ConTersatione. 
Milan.  Brera.       Finding  of  Moses  (formerly  given 

to  GioTffione'). 
Modena.         Gall.         The  four  Virtues. 
Rome.      Colonna  Pal.  Holy  Family  {formerly  called  a 

Titian). 
Venice.         Acad.         Massacre  of  the  Innocents. 
„  „  Dives  and  Lazarus. 

„  „  Judgment  of  Solomon. 

„  iS.  Stffano.  Madonna  and  Child  (?). 

„     Pal.  Giovanelli.  Holy  Conversation. 

Bonifazio  II.,  commonly  called  Bonifazio 
Veneziano,  died  in  Venice  in  1553,  aged  sixty-two. 
He  probably  studied  under  Bonifazio  I.  The 
following  pictures  are  attributed  to  him  : — 

Berlin.  Gall.  Woman  taken  in  Adultery.  MDLn. 

Borne.      Borghese  Pal.  Christ  in  the  House  of  Zebedee. 
„  „  Ketum  of  the  Prodigal  Son. 

Bonifazio  III.,  who  painted  at  Venice  from 
about  1555  to  1579,  is  supposed  to  be  the  author 
of  the  following  paintings  : — 

Venice.  Gall.  The  Queen  of  Sheba  before  Solo- 

mon.   1555. 
„  „  Adoration  of  the  Kings.     1558. 

„  „  Several  Figures  of  Samts. 

BONIFAZIO  DA  VALDARNO.     See  Bembo. 

BGNINGTON,  Richard  Parkes,  was  bom  at 
the  village  of  Arnold  near  to  Nottingham,  on 
October  25,  1801.  His  father,  who  was  for  a  time 
Governor  of  Nottingham  Gaol,  but  lost  his  appoint- 
ment through  irregularities,  became  afterwards 
a  portrait  painter  and  went  to  Paris.  Young 
Bonington,  then  fifteen,  was  permitted  to  study 
in  the  Louvre,  and  enter  as  a  student  at  the  Ecole 
des  Beaux  Arts :  he  was  also  an  occasional  pupil 
of  Baron  de  Gros,  and  thus  belongs  by  training  more 
to  the  French  than  to  the  British  School.  Gros' 
studio  was  in  his  time  the  favourite  meeting-place 
of  all  the  jounger men  of  revolutionary  tendencies, 
but  although  Bonington  absorbed  many  of  their 
ideas,  he  was  able  to  keep  away  from  their  ex- 
travagances by  reason  of  his  repeated  journeys 
to  London,  where  be  never  lost  an  opportunity 
of  studying  the  work  of  Constable.  He  painted 
his  first  landscapes  in  Normandy  and  Picaniy,  but 
in  1822  paid  a  long  visit  to  Italy,  sojourning 
especially  in  Venice,  and  filling  his  portfolios  with 
sea  pieces  and  historical  scenes.  He  then  returned 
to  England,  where  he  was  but  little  known,  and 
his  early  exhibited  works  shown  at  the  British 
Institution  excited  much  amaiement,  as  they  were 
so  French  in  their  technique  and  yet  so  redolent 
of  English  feeling.  He  had  bruught  back  with 
him  from  Venice  the  seeds  of  consumption,  caaght, 


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PAINTERS  AND  ENGRAVERS. 


it  is  said,  in  long  evenings'  exposure  on  the  canals 
of  that  fascinating  city.  Then  in  Paris,  while 
sketching  in  the  sun,  he  received  a  sunstroke 
which  brought  on  first  of  all  somnambulism  and 
then  brain  fever.  From  the  former  he  never 
entirely  recovered,  and  the  consumption  making 
rapid  progress  laid  him  aside  completely,  and  he 
died  in  London  on  September  23,  1828,  before  he 
had  completed  his  twenty-seventh  year.  Eugene 
Delacroix  was  his  great  friend  and  comrade,  and 
the  eminent  artist  has  thus  described  him : — "  I 
knew  Bonington  well  and  loved  him  much.  His 
English  composure,  which  nothing  could  disturb, 
robbed  him  of  some  of  the  qualities  which  make 
life  pleasant.  As  a  lad  he  developed  an  astonishing 
dexterity  in  the  use  of  water-colours,  which  were 
in  1817  an  English  novelty.  Other  artists  were 
perhaps  more  powerful  or  more  accurate  than 
Bonington,  but  no  one  in  the  modern  school, 
perhaps  no  earlier  artist,  possessed  the  ease  of 
execution  which  makes  his  works,  in  a  certain 
sense,  diamonds,  by  which  the  eye  is  pleased  and 
fascinated,  quite  independently  of  the  subject  and 
the  particular  representation  of  nature.  The  same 
is  true  of  the  costume  pictures  which  he  afterwards 
painted.  Even  here  I  could  never  grow  weary 
of  marvelling  at  his  sense  of  effort  and  his  great 
ease  of  execution.  Not  that  he  was  quickly  satis- 
fied ;  on  the  contrary,  he  often  began  over  again 
perfectly  finished  pieces  which  seemed  wonderful 
to  us.  His  dexterity  was,  however,  so  great  that 
in  a  moment  he  produced  with  his  brush  new 
effects  which  were  as  charming  as  the  first  and 
more  truthful."  Tlje  career  of  Bonington  is  a 
very  sad  instance  of  genius  cut  off  in  its  bloom. 
He  was  at  once,  as  Muther  says,  "the  most  natural 
and  the  most  delicate  in  that  Romantic  school  in 
which  he  was  one  of  the  first  to  make  an  appear- 
ance. He  had  a  fine  eye  for  the  charm  of  Nature, 
saw  grace  and  beauty  in  her  everywhere,  and 
represented  the  spring  and  the  sunshine  in  bright 
clear  tones.  No  Frenchman  before  him  had  so 
painted  the  play  of  light  on  gleaming  costumes 
and  succulent  meadow  greens."  His  spirited  im- 
pressionist works,  full  of  careful  observation,  are 
the  direct  result  of  his  study  of  Constable,  and  it 
was  largely  to  his  influence  and  to  the  ability 
which  he  had  to  carry  the  Constable  quality  over 
to  France,  that  the  men  of  the  Barbizon  school, 
whose  forerunner  he  was,  were  able  to  acquire 
that  influence  of  Constable  which  is  so  marked 
in  their  works  and  which  they  brought  down  to 
the  present  day.  Bonington  is  the  link  of  union 
between  the  men  of  classic  fame  in  England  and 
the  Barbizon  school,  with  all  its  developments 
on  the  landscape  art  of  France.  At  the  British 
Institution  he  exhibited  in  1826  two  '  Views  on 
the  French  Coast,'  and  also  the  'Column  of  St. 
Mark's,  Venice,'  now  in  the  National  Gallery.  To 
the  Royal  Academy  he  sent  four  pictures,  '  Henry 
III.  of  France '  and  '  The  Grand  Canal,  Venice,' 
both  painted  in  1828,  and  two  '  Coast  Scenes.' 
Two  of  his  best  known  works  are  '  Henri  IV.  and 
the  Spanish  Ambassador '  (which  was  sold  in  the 
San  Donate  collection  in  1870  for  i'3320,  and  is 
now  in  the  Wallace  Gallery),  and  '  Francis  I.  and 
the  Duchesse  d'Etampes,'  now  in  the  Louvre. 
There  are  three  of  his  water-colours  in  the  Museum 
at  Kensington,  but  in  no  gallery  can  his  work  be 
so  well  studied  as  at  Hertford  House,  wliere  there 
are  no  less  than  thirty-four  of  his  paintings  ;  ten 
being  in  oil  and   the  remainder  in  water-colour. 


Amongst  those  in  oil,  in  addition  to  those  just 
mentioned,  are  '  Francis  I.  and  Marguerite  of 
Navarre,'  representing  the  scene  where  the  King 
has  just  written  on  the  window-pane  the  famous 
verse,  '  Souvent  femme  varie,  Bien  fol  qui  s'y  fie,' 
'Anne  Page  and  Slender,'  'Tlie  Seine  near  Rouen,' 
'A  Rustic  Scene,'  and  'The  Piazza  San  Marco, 
Venice.'  In  water-colours  there  are  many  scenes 
from  Venice,  Bologna,  Milan,  Rouen,  and  various 
places  in  France,  also  some  Oriental  scenes  and 
some  charming  historical  episodes,  as  'The  Earl 
of  Surrey  with  the  fair  Geraldine,'  '  Death  of 
Leonardo  da  Vinci,'  etc.  6.  C.  W. 

BONINI,  GiEOLAMO,  called  L'Anconitana,  was, 
according  to  Padre  Orlandi,  a  native  of  Ancona, 
and  flourished  about  the  year  1660.  He  was  a 
favourite  scholar  and  imitator  of  Francesco  Albani, 
and  assisted  that  master  in  many  of  his  principal 
works,  particularly  in  the  Sala  Famese,  and  in  the 
palaces  at  Bologna.  A  '  Christ  adored  by  Saints  ' 
by  him  is  in  the  Louvre.     He  died  about  1680. 

BONINSEGNA,  Dnccio  di.     See  Bugninsegna. 

BONIS,  Floriano.     See  Bdoni. 

BONISOLI,  AoosTiNO,  was  bom  at  Cremona  in 
1633,  and  was  first  a  scholar  of  Battista  Tortiroli, 
and  afterwards  studied  a  short  time  under  Miradoro 
Agoatino  Bonisoli,  a  relation,  an  artist  of  little 
note.  He  was  indebted  to  his  natural  genius  and 
his  study  of  the  works  of  Paolo  Veronese  more 
than  to  either  of  his  instructors.  He  was  more 
employed  in  easel  pictures  of  sacred  subjects  than 
for  the  churches.  The  only  large  work  by  him 
that  is  recorded  is  a  picture  in  the  Conventuali  at 
Cremona,  representing  the  dispute  between  St. 
Anthony  and  the  tyrant  Ezzelino.  He  died  in 
1700. 

BONITO,  GinsEPPE,  was  born  at  Castellamare, 
in  the  kingdom  of  Naples,  in  1705.  He  was  a 
scholar  of  Francesco  Soliinena,  and  one  of  the 
most  successful  followers  of  his  style.  He  ac- 
quired considerable  celebrity  as  a  painter  of  history, 
and  was  much  employed  as  a  portrait  painter.  He 
was  appointed  painter  to  the  Court  of  Naples, 
where  he  died  in  1789.  A  Portrait  of  a  Turkish 
Ambassador  by  him  is  in  the  Madrid  Gallery. 

BONNAR,  William,  a  painter  of  portraits,  hi.s- 
tory,  and  genre,  was  born  at  Edinburgh  in  1800. 
His  father  was  a  house-painter  of  considerable 
skill,  and  the  son,  having  from  his  early  years 
evinced  a  remarkable  aptitude  for  drawing,  was 
apprenticed  to  one  of  the  leading  decorators  of  the 
time.  When  George  IV.  visited  Edinburgh  in 
1822,  Bonnar  assisted  David  Roberts  in  decorating 
the  assembly  rooms  for  the  grand  state  ball  which 
was  given  in  honour  of  the  occasion.  Shortly 
afterwards  some  signboards  painted  by  him  at- 
tracted the  notice  of  Captain  Basil  Hall,  who 
sought  out  and  encouraged  the  young  artist.  In 
the  year  1824  his  picture  of  'The  Tinkers'  estab- 
lished him  as  a  favourite  with  the  public,  and 
shortly  after  the  formation  of  the  Royal  Scottish 
Academy  (in  1830)  he  was  elected  one  of  the 
members.  Bonnar  died  at  Edinburgh  in  1853. 
He  left  behind  him  many  fine  pictures,  several  of 
which  have  been  engraved.  In  the  Edinburgh 
Gallery  there  are  his  own  Portrait  and  a  Portrait 
of  G.  M.  Kemp,  the  Architect  of  the  Scott  Monu- 
ment, Edinburgh. 

BONNART,  Henbi,  a  French  painter  and  en- 
graver, was  the  brother  of  Robert,  Jean  Baptiste, 
and  Nicolas  Bonnart.  He  was  born  in  Paris  in 
1642,  became  rector  of  the  Academy  of  St.  Luke, 

167 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  died  in  Paris  in  1711.  Le  Blanc  attributes  to 
hira  201  plates,  of  which  20  are  religious  subjects, 
46  portraits,  and  135  costume  prints.  His  son, 
Jean  Baptiste  Henri  Bonnabt,  followed  his 
father's  profession,  and  died  in  1726,  aged  about 
48  years.  In  Perrault's  '  Cabinet  des  Beaux- Arts,' 
published  in  Paris  in  1690,  there  is  a  plate  of  a  ceil- 
ing ornamented  with  figures,  which  is  probably  by 
him  ;  it  is  etched  in  a  free,  masterly  style,  finished 
with  the  graver,  and  marked  Jean  Bonnart,  Junior, 
del.  et  sculp- 

BONNART,  Jean  Baptiste,  painter  and  en- 
graver to  the  king,  was  bom  in  Paris  in  1654,  and 
was  still  living  in  1752.  Le  Blanc  assigns  to  him 
34  subjects,  of  which  one  is  '  Jesus  Christ  on  the 
Mount  of  OHves,'  9  portraits,  and  24  costume 
pieces. 

BONNART,  Nicolas,  who  was  an  engraver, 
was  the  eldest  brother  of  Henri,  Robert,  and  Jean 
Baptiste  Bonnart,  and  was  bom  about  1636.  Le 
Blanc  attributes  to  him  379  plates,  of  which  15  are 
scriptural  subjects,  some  of  them  after  the  works 
of  his  brother  Robert,  27  mythological,  32  historical, 
24  portraits,  and  208  plates  of  costumes,  manners, 
&c.  He  died  in  1718,  aged  81  years.  His  son, 
Nicolas  Bonnabt,  an  engraver,  died  in  1762,  at 
the  age  of  about  74  years. 

BONNART,  Robert,  who  was  hkewise  an  en- 
graver, was  born  in  Paris  in  1652.  He  was  godson 
of  Robert  Nanteuil,  and  a  pupil  of  Van  der  Meulen, 
after  whom  he  engraved  several  plates.  He  was 
appointed  painter  and  engraver  to  the  king,  and 
subsequently  assistant-professor  at  the  Academy  of 
St.  Luke.  He  died  after  1729,  and  has  been  often 
confounded  with  his  son,  Robert  FRAsgois  Bon- 
nart, who  was  professor  at  the  Academy  of  St. 
Luke,  and  was  still  living  in  1759.  Le  Blanc  men- 
tions only  nine  plates  by  him,  among  which  are : 

Portrait  of  Louis  XTV. 

Portrait  of  the  Dauphin  Louis. 

The  Taking  of  Valenciennes  in   1677  ;   after  Van  der 

Meulen. 
The  Taking  of  Cambrai  in  1677  ;  after  the  same. 
The  Siege  of  Douai ;  after  the  same. 
The  Entrance  of  the   Queen  into  Arras,  two  sheets  ; 

after  the  same. 

BONNCIONE,  E.,was  an  engraver  who  flourished 
about  the  year  1670,  and  whose  name  is  affixed  to 
a  small  plate,  representing  Diana  in  a  chariot 
drawn  by  Dragons,  with  a  Cupid  behind  her,  after 
F.  Bol.     It  is  slightly  etched  in  a  poor,  dark  style. 

BONNEAU,  Jacob,  the  son  of  a  French  engraver, 
exhibited  landscapes  painted  in  water-colours,  both 
at  the  Incorporated  Society  of  Artists  and  at  the 
Academy,  from  1765  to  1784.  He  was  well  known 
as  a  drawing  master,  and  was  largely  employed  by 
the  booksellers,  for  whom,  among  other  plates,  he 
engraved  the  heads  prefixed  to  the  '  History  of  the 
American  Buccaneers,'  published  in  London  in 
1741.     He  died  at  Kentish  Town  in  1786. 

BONNEFOND,  Jean  Claude,  who  was  born  at 
Lyons  in  1796,  studied  under  Bevoil,  and  became 
successful  in  representing  scenes  from  peasant  life. 
About  1 826  he  went  to  Rome,  and  became  influenced 
by  the  style  of  Robert  and  Schnetz,  and  painted 
sacred  as  well  as  genre  subjects.  In  1831  he  be- 
came director  of  the  Art  School  at  Lyons,  and  in 
1837  a  member  of  the  Academy.  He  died  in  that 
city  in  1860.  In  the  Museum  of  Lyons  there  are 
by  him — 

The  Bed-chamber.     1824. 

A  Woman  tired  with  travelling,  succoured  by  monks. 
1827. 
168 


The  Ceremony  of  the  Holy  Water,  on  the  day  of  Epiph- 
any, at  the  church  of  the  Greek-CathoUcs  at  Kome. 
1831. 

Portrait  of  Jacquard.  1834.  ( Commissioned  by  the  town 
of  Lyons.) 

A  Greek  officer  wounded.    Rome.    1826. 

A  Koman  goatherd  deploring  the  loss  of  his  goat.  1836. 

BONNEMAISON,  F^r^ol,  was  a  French  portrait 
painter  and  lithographer,  who  was  distinguished 
by  the  skill  with  which  he  restored  many  of  the 
pictures  taken  to  Paris  under  the  first  empire.  He 
was  educated  in  the  school  of  Montpellier,  and  died 
in  Paris  in  1827.  The  Chevalier  Bonnemaison 
published  in  1818  a  '  Suite  d'^tudes  calqu^es  et 
dessin^es  d'apres  cinq  tableaux  de  Raphael,'  and 
in  1822  a  series  of  lithographs  from  paintings  of 
the  modern  French  school  in  the  gallery  of  the 
Duchess  de  Berry. 

BONNEMER.FRANgois,  was  a  French  painter 
and  engraver  who  was  bom  at  Falaise  in  1637.  He 
worked  with  Monier,  the  younger  Comeille,  and 
the  yoimger  Vouet  on  the  ceiling  of  the  gallery  of 
the  King's  Audience  Chamber  at  the  Tuileries,  and 
was  commissioned  by  the  king  to  copy  some  works 
of  Carracci  in  the  Farnese  Gallery  at  Rome.  He 
engraved  several  plates  after  Le  Brun,  and  was 
the  master  of  Minageot.     He  died  in  Paris  in  1689. 

BONNER.  George  William,  one  of  the  earliest 
English  wood-engravers,  was  bom  at  Devizes  in 
1796.  He  was  celebrated  for  his  revival  of  the 
art  of  prinring  tints  by  means  of  a  combination 
of  blocks.     He  died  in  1836. 

BONNER,  Thomas,  was  bom  in  Gloucestershire 
in  the  first  half  of  the  18th  century.  He  was 
celebrated  as  one  of  the  best  of  the  topographical 
draughtsman  and  engravers  of  his  day.  He  illus- 
trated Collinson's  'History  of  Somersetshire' 
(1791),  Polwhele's  '  Devonshire '  (1797),  a 
'  Perspective  Itinerary,'  and  many  other  works. 
It  is  believed  that  he  died  soon  after  1807. 

BONNET,  Louis  Marin,  a  French  engraver  in 
aquatint  and  in  chalk,  was  bom  in  Paris  in  1743. 
He  resided  for  some  time  at  St.  Petersburg,  where 
he  engraved  some  portraits  of  persons  of  the 
Russian  Court.  On  his  return  to  Paris  he  published 
several  plates,  executed  in  imitation  of  drawings 
in  crayons,  of  which  stj'le  he  pretended  to  be  the 
inventor.  They  are  chiefly  after  Boucher,  and 
other  modern  French  masters.  Bonnet  died  about 
the  year  1793. 

BONO  FEKRARESE.    See  Ferrara,  Bono  da. 

BONOMI,  Joseph,  the  elder  of  the  name,  was 
born  at  Rome  in  1739,  and  went  to  London  in 
1767  to  decorate  buildings  for  the  brothers  Adam. 
In  1775  he  married  a  cousin  of  Angelica  KaufE- 
mann.  In  1789  he  was  elected  an  Associate  of 
the  Royal  Academy,  and  from  that  time  constantly 
exhibited  architectural  drawings.  In  1804  he  was 
appointed  architect  of  St.  Peter's  at  Rome.  He 
died  in  London  in  1808. 

BONOMI,  Joseph,  the  son  of  the  architect,  was 
born  in  London  in  1796.  He  passed  many  years 
in  Egj'pt,  and  became  distinguished  for  his  great 
knowledge  of  hieroglyphics.  He  assisted  Owen 
Jones  in  the  decoration  of  the  Egyptian  Court 
at  the  Crystal  Palace,  and  published  '  Nineveh 
and  its  Palaces,'  and  works  on  Egj^jt,  Nubia,  and 
Ethiopia,  illustrated  with  his  own  drawings.  In 
1861  he  was  made  curator  of  the  Soane  Museum. 
He  died  at  Wimbledon  in  1878. 

BONONI,  Bartolommeo,  is  the  author  of  a 
'Virgin  in  Glory,'  in  the  Louvre,  that  is  signed 


FRANCESCO  BONSIGNORI 


>'   'J"-     M       .A  .'  Hi. Id'" 


Anderson  fholo]  \_San  Giovanni  e  Paolo,  Venice 

DETAILS  OF  A  POLYPTYCH 


PAINTERS  AND  ENGRAVERS. 


and  dated  1507.  No  further  information  can  be 
given  of  this  artist.  He  is  thought  to  liave  been 
a  native  of  Pavia. 

BONONI,  Carlo,  was  bom  at  Ferrara  in  1569, 
and  was  instructed  in  the  art  by  Giuseppe  Mazzuoli 
(called  II  Bastaruolo),  under  whom  he  studied  until 
he  was  twenty  years  of  age.  Contemporary  with 
Ippolito  Scarzellino,  and  unable  to  equal  Iiim  in 
the  tenderness  of  his  tints  and  the  beauty  of  his 
expression,  he  endeavoured  to  rival  him  in  the 
boldness  of  his  design  and  the  vigour  of  his  colour- 
ing. Bent  on  improvement,  he  visited  Bologna, 
where  the  Carracoi  were  then  in  the  zenith  of  their 
fame.  Their  works  inspired  him  with  a  new  idea 
of  his  art.  After  passing  some  time  at  Bologna, 
he  went  to  Rome,  where  he  improved  his  style  of 
design  by  studying  after  the  antique.  His  predi- 
lection for  the  style  of  the  Carracci  drew  him 
again  to  Bologna,  where  he  copied  some  of  their 
principal  works.  He  afterwards  went  to  Venice, 
where  the  splendid  productions  of  Paolo  Veronese 
appear  to  have  excited  the  liveliest  admiration. 
The  works  of  Correggio  at  Parma  seem  to  have 
been  not  less  the  objects  of  his  contemplation. 
In  his  smaller  works  he  approaches  so  near  to  the 
style  of  the  Carracci  that  he  was  called  '  the 
Carracci  of  Ferrara.'  In  his  extensive  decorative 
works  he  exhibits  the  magnificence  and  richness 
of  Paolo  Veronese.  Such  are  his  '  Fe;ist  of  Ahas- 
uerus,'  painted  in  the  refectory  of  the  Regular 
Canons  at  Ravenna,  the  '  Feast  of  Herod '  in  San 
Benedetto,  and  the  'Miracle  at  Cana'  in  the 
refectory  of  the  Certosini  at  Ferrara.  The  UflBzi, 
Florence,  possesses  a  '  Liberation  of  St.  Peter  from 
Prison'  by  him,  and  in  the  Modena  Gallery  there 
are  four  of  his  works.    He  died  at  Ferrara  in  1632. 

BONONI,  LlONELLO,  was  the  nephew  and  scholar 
of  Carlo  Bononi,  and  flourished  about  the  year 
1749.  The  excellent  instruction  of  his  uncle  might 
have  enabled  him  to  arrive  at  celebrity  in  the  art, 
but  his  negligence  and  depravity  prevented  his 
success.  His  most  creditable  performances  are 
two  pictures  he  painted  for  the  chapel  of  the 
hospital  of  Santa  Maria  Novella,  representing 
'The  Visitation  of  the  Virgin  to  St.  Elizabeth,' and 
'The  Holy  Family.' 

BONONIA,  Jac.  de  Avaciis  de.    See    Degli 

AVANZI. 

BONONIA,  SmoNE  da.     See  Bologka. 

BONONIENSIS,  Fr.,  was  an  Italian  engraver, 
by  whom  we  have  some  very  spirited  etchings, 
executed  in  a  bold,  masterly  style.  They  are 
chiefly  from  the  works  of  Paolo  Veronese,  and  are 
usually  signed  with  his  name. 

BONSER,  J.,  was  a  native  of  Holland,  who 
worked  there  and  at  Lyons  between  the  years  1629 
and  1642.  He  was  principally  employed  by  the 
publishers,  for  whom  he  engraved,  among  other 
book-plates,  some  frontispieces  in  a  very  indif- 
ferent style,  with  figures  and  ornaments. 

BONSIGNORI,  Francesco,  (miscalled  by  Vasari, 
and  others  after  him,  Monsignori,)  was  born  in  1455 
at  Verona,  where  he  lived  under  the  influence  of 
Liberale  till  he  was  thirty-two  years  of  age.  He 
then  visited  Mantua  in  1487,  and  became  influenced 
by  the  works  of  Mantegna.  He  painted  historical 
subjects  with  much  success,  and  was  largely  patron- 
ized by  the  Marchese  Francesco  Gonzaga.  He  died 
at  Caldiero,  near  Verona,  in  1519.  Less  learned 
and  correct  in  his  design  than  Mantegna,  he  is  more 
modern  in  his  style ;  and  his  colouring,  particu- 
larly in  the  carnations,  has  more  of  the  morbidezza. 


He  excelled  in  painting  animals,  which  he  was 
fond  of  introducing  into  his  works  ;  and  from  the 
fact  that  his  paintings  of  these  occasionally  de- 
ceived other  animals,  he  was  called  '  the  modern 
Zeuxis.'  In  the  Brera  at  Milan  is  one  of  his  best 
pictures,  representing  '  St.  Louis  ; '  and  in  the  re- 
fectory of  the  church  of  the  Franciscans  at  Man- 
tua are  some  perspective  views,  which  show  him 
to  have  been  a  perfect  master  of  that  branch  of 
art.  His  last  production  was  'The  Vision  of  Christ 
to  the  nun  Ozanna,'  dated  1519,  and  now  in  the 
Academy  at  Mantua.    Of  others  may  be  mentioned : 

Florence,  Bargello,  Christ  bearing  the  Cross.  London, 
National  Gallery,  Portrait  of  a  Venetian  Senator 
(signed  Francischs  Bonsignoeius  Veeonensis  P 
1487).  See  cartoon  in  the  Albertina  LUrary  at 
Vienna.  Mantua,  Academy,  Christ  ascending 
Calvary  ;  Pal.  Gonzaga,  several  paintings,  1495-6  ; 
&  Francesco,  Last  Supper,  1506;  S.  M.  d.  Grazie, 
St.  Sebastian.  Verona,  Gallery,  Madonna  enthroned 
with  four  Saints ;  S.  Bernardino,  Madonna,  Child,  and 
Saints,  1488 ;  S.  Nazaro,  Madonna,  vrith  Saints, 
1514.  Vienna,  Albertina  Col.,  Eight  portraits  in 
black  chalk,  1487. 

BONSIGNORI,  Fra  Gibolamo,  (miscalled  Mon- 
signori,) the  brother  of  Francesco  Bonsignori,  was 
born  at  Verona  about  the  year  1440.  At  an  early 
period  in  his  life  he  became  a  monk  of  the  order 
of  the  Dominicans,  and  in  the  church  of  his  monas- 
tery he  executed  some  altar-pieces.  He  at  first 
studied  the  works  of  Mantegna,  but  in  his  later 
productions  he  followed  the  style  of  Fiesole.  He 
also  studied  Leonardo  da  Vinci,  and  produced  ex- 
cellent copies  of  some  of  his  works  ;  in  particular, 
of  the  '  Last  Supper.'  It  was  originally  in  the 
great  library  of  »an  Benedetto  at  Mantua,  but  now 
in  tlie  possession  of  Count  Arco  at  Paris.  He 
also  painted  a  '  St.  John,'  which  is  now  in  the 
Zecca  at  Milan.  Among  his  early  paintings  there 
is,  besides  the  altar-piece,  a  'Last  Supper'  in  the 
Dominican  monastery,  and  a  '  Madonna  '  in  fresco 
in  Santa  Anastasia  at  Verona.  He  died  of  the 
plague  at  Mantua  about  1519.  Another  brother 
of  Francesco,  Fra  Cherubino  Bonsignori,  excelled 
in  miniature  painting. 

BONSTETTEN,  Abr.  Sigm.  August  von,  a  Swiss 
landscape  painter,  born  in  1796,  of  a  good  family. 
He  was  brought  up  for  the  military  service,  and 
served  in  a  Swiss  regiment  in  the  pay  of  the 
Dutch  Government.  After  the  separation  of 
Belgium  from  Holland,  he  gave  up  soldiering  and 
devoted  himself  entirely  to  art.  Possessed  of  con- 
siderable property,  his  works  but  seldom  appeared 
at  the  public  exhibitions.  He  died  atSinneringen, 
near  Berne,  in  1879. 

BONTEKRAAY.    See  Mytens,  Dan. 

BONVICINO,  Alessandro,  one  of  the  best 
painters  of  northern  Italy  of  the  sixteenth  century, 
commonly  known  as  Moretto,  was  born  at  Rovato, 
near  Brescia,  about  1498.  He  at  first  studied 
under  Ferramola,  whom  he  assisted  in  the  painting 
of  an  organ  screen  in  the  cathedral  of  Brescia  in 
1618.  It  is  said  that  he  was  a  pupil  of  Titian, 
whose  style  he  approached  nearer  than  anj'  of  his 
countrymen ;  but  whether  he  worked  under  him 
at  Padua,  Venice,  or  Vicenza  is  not  known.  His 
portraits  have  been  compared  to  those  of  that 
great  master.  Romaniiio's  work  also  had  great 
influence  on  his  style.  Moretto  imparted  instruc- 
tion to  the  famous  portrait-painter  Moroni.  In 
later  life,  he  attempted  to  introduce  into  his 
works  something  of  the  greatness  of  Raphael,  and 

109 


A  BIOGRAPHICAL  DICTIONARY  OF 


became  the  author  of  a  very  attractive  style.  An 
uncommonly  graceful  turn  of  his  heads,  an  ex- 
pression of  devotion  and  fervent  piety  in  his 
figures  (which  generally  represents  sacred  sub- 
jects), a  freshness  of  colour  approaching  to  Titian, 
are  the  characteristics  of  the  works  of  Bonvicino. 
He  occasionally  painted  in  fresco,  but  was  less 
successful  in  this  than  in  oil.  The  date  of  his 
death  is  unrecorded  ;  he  painted  as  late  as  1554, 
and  died  probably  in  1555.  He  was  buried  in  the 
church  of  San  Clemente,  Brescia,  which  city  pos- 
sesses many  of  his  best  works.  The  following  is 
a  list  of  Moretto's  most  important  paintings  :. — 

Berlin,  Museum,  Virgin  and  Child,  St.  Elizabeth,  and 
Saints  {siyned  ales  :  moeettvs  Prls  F  mdxli)  ; 
Adoration  of  the  Shepherds  (signed).  Brescia,  ^. 
Clemente,  Five  Virgin  Martyrs;  Ascension  of  the 
Virgin ;  St.  Ursula ;  .S.  Francesco,  Majesty  of  St. 
Margaret,  1530 ;  iS.  Giovanni  Evangelista,  Coronation 
of  the  Virgin  (an  early  uork) ;  Massacre  of  the 
lunocents;  Scenes  from  the  Life  of  John  the  Baptist 
(painted  in  1521  in  competition  with  Romanino) ;  S. 
Maria  delle  Grazie,  Enthronement  of  St.  Anthony 
of  Padua  ;  5.  Maria  Calchera,  Christ  in  the  house  of 
Simon,  1544;  Gallery,  St.  Nicholas  of  Bari,  1539, 
and  many  others;  SS.  Nazaro  e  Celso,  Coronation  of 
the  Virgin ;  Transfiguration,  1541 ;  Tosi  Coll., 
Virgin  and  Child  in  Heaven;  Supper  at  Emmaus; 
Portraits.  Florence,  ['JJizi,  Portrait  of  a  Man; 
Descent  of  Christ  into  Hades.  Frankfort,  Stddel, 
The  Virgin  and  Child  with  SS.  Anthony  and 
Sebastian.  London,  National  Gallery,  Portrait  of 
Count  Sciarra  Martinengo  Cesaresco ;  St.  Bernardino 
with  various  Saints ;  Portrait  of  an  Itahan  Noble- 
man, 1526.  Paris,  Louvre,  St.  Bernardino  of  Siena 
and  St.  Louis  of  Toulouse ;  St.  Bonaventura  and  St. 
Anthony  of  Padua.  Petersburg,  Hermitage,  Faith 
(formerly  called  a  Palma  Vecchio).  Venice,  6'. 
Maria  delta  Pieta,  The  Feast  of  the  Pharisee  (signed 
AxEX  MoEETTus  BHri.  F.  KDXLViin).  Verona,  .S. 
Giorgio  Maggiore,  Virgin  and  four  female  Saints, 
1540.  Vienna,  Belvedere,  St.  Justina  and  a  Knight 
(one  of  his  best  icorks;  formerly  ascribed  to  Pordenone 
and  engraved,  by  Rahl,  as  his  iork). 

BONVIN,  Francois  Saint,  a  French  painter  of 
still-life  and  of  interiors  in  the  style  of  Chardin, 
born  at  Vaugirard,  Paris,  November  22,  1817. 
His  father  was  a  garde-champetre,  and  Bonvin 
was  educated  in  the  drawing-school  of  the  fine 
de  rficole  de  M^decine.  For  more  than  thirty 
years  he  was  a  constant  exhibitor  at  the  Salon, 
gaining  the  Legion  of  Honour  in  1870.  In  1881 
he  entered  the  Hospital  of  Saint  Jean  de  Dieu  to 
be  operated  on  for  the  stone,  and  for  the  rest 
of  his  life  was  an  invalid.  He  died  in  1888. 
Pictures  ; 

L'ficole  des  Orphelins  (Langres  Museum) ;  La  Charity 
U\iort  Museum);  Le  Refectoire;  Servante  a  la 
Fontaine  (Luxembourg  Museum). 

BONZI,  PiETRO  Paolo,  who  was  born  at  Cortona, 
is  generally  known  as  II  Godbo  (the  Hunchback). 
He  is  sometimes  called  da  Cortona.  from  his  birth- 
tdace  ;  sometimes  de'  Carracci,  from  his  liaving 
been  brought  np  in  their  academy;  most  fre- 
quently dalle  Frutta,  from  his  excellence  in  paint- 
ing fruit.  He  first  attempted  historical  painting, 
and  gave  proof  of  his  incompetency  in  his  picture 
of  'The  Incredulity  of  St.  Thomas,'  in  the  Rotunda 
at  Rome.  He  was  not  much  more  successful  in 
landscapes.  But  he  surpassed  every  artist  of  his 
country  in  painting  fruit.  His  arrangement  of 
these  objects  is  tasteful  and  picturesque,  and  his 
colouring  has  all  the  voluptuous  richness  of  nature, 
with  a  relief  that  is  perfect  deception.  His  works 
are  _tlie  ornaments  of  several   of  the  palaces  at 


Rome,  particularly  the  festoons  in  the  Palazzo 
Mattel.  His  oil  pictures  are  not  less  admired  than 
his  works  in  fresco.  In  the  Stockholm  Gallery 
are  five  fruit  pieces  by  him.  A  male  portrait  by 
him  is  in  the  Berlin  Gallery ;  and  in  the  Louvre  is 
a  picture,  attributed  to  him,  of  'Latona  turning 
the  Peasants  into  Frogs.'  He  died  at  Rome,  aged 
60,  during  the  pontificate  of  Urban  VIII.  (1623— 
1644). 
BOOM.     See  Verboom. 

BOON,  Daniel,  a  Dutch  painter,  flourished  in 
England  in  the  reign  of  Charles  II.  He  painted 
drunken  scenes  and  revellings,  in  which  his  ambi- 
tion appears  to  have  been  to  introduce  as  much  of 
ugliness  and  deformity  as  a  mind  naturally  vulgar 
could  conceive.     He  died  in  London  in  1698. 

BOONEN,  Arnold  van,  an  eminent  portrait 
painter,  was  bom  at  Dordrecht  in  1669.  He  was 
first  a  scholar  of  Arnold  Verbius,  but  afterwards 
of  Godefried  Schalken.  He  painted  genre  pictures 
in  the  style  of  the  latter,  but  met  with  such  en- 
couragement in  portrait  painting  that  he  devoted 
himself  almost  wholly  to  that  branch  of  art.  He 
was  an  excellent  colourist,  a  faithful  designer  of 
his  model,  and  was  soon  distinguished  as  one  of 
the  ablest  artists  of  his  day.  He  painted  a  great 
number  of  portraits,  among  whom  were  Peter  the 
Great,  the  Elector  of  Mentz,  the  Landgrave  of 
Hesse-Darmstadt,  the  Prince  and  Princess  of 
Orange,  and  the  Duke  of  Marlborough.  He 
painted  some  large  pictures  for  the  halls  of  the 
different  companies  at  Amsterdam  and  Dordrecht 
He  died  in  1729.  The  Dresden  Gallery  has  seven 
works  by  him.  His  son,  Kasper  van  Boonen, 
also  painted  portraits. 

BOONEN,  Jasper  van,  who  was  bom  at  Dor- 
drecht in  1677,  was  a  younger  brother  of  Arnold 
van  Boonen.     He  p.iinted  portraits  with  consider- 
able success.     He  died  in  his  native  town  in  1729. 
BOOTH,  William,  who  was  bora  at  Aberdeen 
in  1807,  was   noted  for  his  female  portraits   in 
miniature.     He  exhibited  at  the  Royal  Academy 
from  1827  to  1845,  the  year  of  his  death. 
BORCH,  Gerard  ter.    See  Ter  Borch. 
BORCHT,  VAN  DER.    See  Van  der  Borcht. 
BORCHT,  Jacob  a,  an  engraver,  executed  several 
of  the  plates  for  the  'Academie  de  I'Bspee,'  by 
G.  Thibault,  published  at  Antwerp  in  1628.     He 
worked  entirely  with  the  graver  in  a  style  resem- 
bling that  of  Jakob  de  Gheyn. 

BORDIER,  Pierre,  of  Geneva,  flourished  in  the 
17th  century.  He  was  the  friend,  and  subsequently 
brother-in-law,  of  Jean  Petitot  the  elder,  and  as- 
sisted him  in  many  of  his  works,  usually  executing 
the  hair  of  his  portraits  and  the  backgrounds. 
Works  executed  entirely  by  him  are  very  rare,  and 
he  was  more  famous  for  his  discoveries  in  modes 
of  miniature  painting  and  enamelling  than  for  any 
particular  picture.  It  is  said  that  he  was  employed 
by  the  Parliament  to  paint  a  '  Memorial  of  the 
Battle  of  Naseby,'  which  they  presented  to  Fairfax, 
their  victorious  general.  See  also  Petitot,  Jean, 
'  the  elder.' 

BORDINO,  J.  F.,  an  Italian  eng^raver,  flourished 
about  the  year  1604.  He  engraved  the  plates  for 
a  volume  in  quarto,  entitled,  '  Series  et  Gesta  Pon- 
tificum,'  published  in  the  above  year. 

BORDONE,  Paris,  an  eminent  painter  of  the 
Venetian  school,  was  bom  at  Treviso  in  1500.  He 
was  of  a  noble  family,  and  after  having  received 
an  education  suited  to  his  birth,  as  he  had  shown 
a  decided  inclination  for  art,  he  was  placed  in  the 


ALESSANDRO  BONVICINO 

CALLED 

MORETTO 


Haiifsta  ngl  photo\ 


[National  GaUery,  London 


PORTRAIT  OF  AN  ITALIAN  NOBLEMAN 


ALESSANDRO  BONVICINO 


MORETTO 


Hanfstdngl photo]  \_Naiiofial  Gallery,  Lo/idu/i 

ST.  BERNARDINO  OF  SIENA,  WITH  OTHER  SAINTS 


PARIS  BORDONE 


Naya  fhotd] 


THE  FISHERMAN  BRINGING  THE  RING  TO  THE 
DOGE  GRADENIGO 


{^.-iccadcmia,  ]'e7iice 


PARIS  BORDONE 


Hanfstangl  photol 


[^Naiional  Gallery^  London 


PORTRAIT  OF  A  LADV 


PAINTERS  AND  ENGRAVERS, 


Berlin. 


Museum 


distinguished  school  of  Titian,  under  whom  he 
studied  for  some  time.  After  this  he  became  a 
pupil  of  Giorgione,  whom  he  imitated  with  much 
success.  Subsequently,  however,  he  devoted  him- 
self entirely  to  the  study  of  Titian,  and  became  a 
faithful  imitator  of  that  great  master,  bo  that  hia 
works  have  often  been  confused  with  the  originals. 
He  also  excelled  in  portrait  painting,  and  his 
pictures  of  that  description  are  not  inferior  to 
those  of  any  artist  of  his  country,  Titian  only 
excepted.  His  first  productions  were  executed  in 
Treviso,  Vicenza,  and  Venice,  and  were  the  objects 
of  universal  admiration.  His  most  important  work 
was  the  dome  of  the  church  of  San  Vicenzo  at 
Treviso,  in  which  he  has  represented,  in  six  com- 
partments, 'The  Annunciation,'  'The  Nativity,' 
'The  Adoration  of  the  Magi,'  'The  Crucifixion,' 
'The  Ascension,'  and  'The  Assumption  of  the 
Virgin.'  In  1538  he  was  invited  to  France  by 
Francis  I.,  and  he  there  painted  the  portraits  of 
that  monarch  and  the  principal  personages  of  his 
Court.  He  was  knighted  by  Francis  II.  From 
Paris  he  returned  to  Venice  by  way  of  Augsburg 
and  Milan,  at  the  former  of  which  he  painted  in 
the  Fugger  Palace,  and  at  the  latter  in  the  chapel 
of  St.  Jerome.  He  died  at  Venice  in  1571.  The 
following  are  some  of  his  best  works  : 

,  The  Chess-players  (O  Paris  B). 
A  man  iu  black. 
Madonna    and    Saints     {two:    Nos. 

177  and  191). 
Holy  Family,  with  St.  Jerome  and 

St.  Elizabeth. 
Daphnis  and  Chloe. 
Portrait  of  a  Genoese  Lady  (siyned 

Paris  B  O). 
Madonna  and  two  Saints. 
Baptism  of  Christ. 
Portrait  of  a  man. 
Man  counting  jewels. 
Christ  taking  leave  of  His  mother. 
Portrait   of    a    man    {signed    Paris 

B.  F.,  and  dated  MDXXXX). 
.  Holy  Family. 
Mars  and  Venus. 
The  Fishermen  presenting  the  ring 

of    St.    Mark   to   the    Doge    (his 

masterpiece) . 
A  young  Lady  at  her  toilet. 
Venus  and  Adonis  in  an  arbour. 
And  Jive  others. 

BOREKENS.     See  Borrekens. 

BORESUM.     See  Bobssdm. 

B0R6ANI,  Francesco,  was  a  native  of  Mantua 
who  flourished  about  the  middle  of  the  17th  cen- 
tury. He  was  a  scholar  of  Domenico  Feti.  He 
did  not,  however,  follow  the  style  of  his  instructor, 
but  imitated,  with  some  success,  the  graceful  man- 
ner of  Parmigiano.  There  are  several  of  his  works 
in  the  churches  of  San  Pietro,  San  Simone,  and 
Santa  Croce,  at  Mantua,  which  prove  him  to  have 
been  an  artist  of  no  mean  ability,  and,  according  to 
Lanzi,  are  deserving  of  more  admiration  than  is 
generally  bestowed  on  them. 

BORGHEGGIANO.    See  Alberti,  Chebubino. 

BORGHESE,  Ritter.     See  Goidotto. 

BORGHESE,  Giovanni  Ventura,  was  a  native 
of  Citti  di  Castello,  and  a  scholar  of  Pietro  da  Cor- 
tona.  He  assisted  that  master  in  some  of  his  most 
considerable  works  at  Rome,  and  after  the  death 
of  his  instructor  was  engaged  to  finish  some  of 
his  paintings  left  imperfect.  In  the  church  of 
San  Niocol6  da  Tolentino  there  are  two  pictures 
by  this  painter,  representing  'The  Annunciation,' 


Dresden.     Gallery. 
London.  Nat.  Gall. 


Lovere.  Tadini  Coll. 
Milan.  £rera. 

Munich.      Gallery. 

Padua.         Gallery. 
Paris.  Louvre. 

Rome.  Colonna  Pal. 

„        Doria  Pal. 

Venice.     Academy. 


Vienna.     Gallery. 


and  'The  Virgin  Mary  crowned  by  Angels.'  His 
best  works  are  considered  to  be  four  paintings  in 
the  church  of  Citta  di  Castello,  representing  scenes 
in  the  life  of  St.  Catharine.     He  died  in  1708. 

BORGHESE,  Pietbo.    See  Dei  Fbanceschi. 

BORGHESI,  Ippolito,  a  native  of  Naples,  and 
a  scholar  of  Francesco  Curia,  flourished  about  the 
year  1550.  He  painted  historical  subjects  with 
some  skill,  and  also  successfully  imitated  Raphael 
and  Andrea  del  Sarto.  His  most  considerable 
work  is  an  altar-piece,  representing  the  '  Assump- 
tion of  the  Virgin,'  in  the  chapel  of  Monte  di  Pieta 
at  Naples. 

BORGIANI,  Orazio,  a  painter  and  engraver, 
was  bom  at  Rome  in  1577  (?).  He  was  instructed 
in  the  art  of  painting  by  his  brother,  Giulio  Borgi- 
ani,  called  Scalzo ;  but  was  more  assisted  in  his 
progress  by  assiduously  studying  and  copying  the 
works  of  the  great  masters  in  his  native  city.  The 
patronage  bestowed  on  the  arts  by  Philip  II.  of 
Spain  induced  him  to  visit  that  country,  where  he 
passed  some  years,  and  met  with  considerable  suc- 
cess, his  works  being  held  in  great  estimation.  On 
his  return  to  Rome  he  was  patronized  by  the 
Spanish  ambassador,  for  whom  he  painted  several 
pictures,  and  he  was  also  employed  in  painting  for 
the  churches.  The  date  of  his  death  is  unknown. 
He  painted  as  late  as  1630.  In  the  Uffizi  is  his 
portrait  by  himself.  As  an  engraver  he  has  left 
some  plates  etched  in  a  bold,  free  manner,  and 
more  finished  than  is  usual  in  the  works  of  a 
painter.  Ho  usually  marked  his  plates  with  a 
cipher  composed  of  an  ff  and  a  B  >-A — / 
thus :  LD      [LjoJ 

We  have  by  him:  iXJ/    UlQJ 

The  Resurrection,  a  composition  of  many  figures  ;  marked 

with  the  last  of  the  above  ciphers. 
The  dead  Christ,  in  a  foreshortened  position,  with  the 

two  Marys  and  St.  John ;  dated  1615. 
St.  Christopher  giving  his  hand  to  the  Infant  Jesus. 
St.  Christopher  carrying  the  Infant  on  his  Slioulder. 
Fifty-two  Bible  histories,  called  RaphaeVs  Bible ;  dated 

1615. 

BORGO  SAN  SEPOLCRO,  Raffaellino  dal. 
See  Dal  Colle. 

BORGOGNONE.     See  Courtois. 

BORGOGNONE,  Ambrogio.  See  Stefani  da 
Fossano,  Ambrogio. 

BORGOGNONE  dalle  Teste,  II.  See  Giacohi- 
NETTi  Gonzalez. 

BORGOMAINERIO,  Lnioi,  who  was  born  at 
Como  in  1836,  was  one  of  the  cleverest  caricatur- 
ists in  the  '  Spirito  Folletto,'  and  the  founder  of  the 
'Mefistofele.'  Subsequently  he  went  to  Brazil  to 
engage  in  similar  work  for  a  comic  paper,  but  died 
at  Rio  Janeiro  in  1876,  soon  after  his  arrived. 

BORGONA,  Jdan  de,  a  painter  of  Toledo,  was  a 
distinguished  artist  of  his  time,  both  in  fresco  and 
oil,  and  produced  several  works  in  his  own  city, 
which  were  held  in  great  estimation.  He  worked 
in  conjunction  with  Alvar  Perez  de  Villoldo,  Alonso 
Sanchez,  Francois  d'Anvers,  and  other  eminent 
painters.  At  Alcala  de  Henares  he  painted  in 
1493  the  theatre  of  the  university,  and  was  em- 
ployed from  1508  to  1511  in  the  cathedral  at  To- 
ledo, where  he  painted  first  the  altar  of  the  Arabian 
Chapel,  and  afterwards  a  picture  of  '  The  Conquest 
of  Oran.'  At  Avila  he  finished  the  pictures  com- 
menced by  Pedro  Berruguete  and  Santos  Cruz.  He 
also  painted  portraits  of  several  cardinals.  His 
colouring  and  mode  of  casting  his  draperies  were 
considered  equal  to  the  best  masters  of  the  Italian 

171 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  German  sonools  of  the  time.  He  died  at 
Toledo  in  1533. 

BORLUYT,  GoiLLiAaME,  who  was  a  burgher  of 
the  city  of  Ghent  in  1557,  designed  a  series  of 
plates,  illustrating  Ovid,  which  were  engraved  by 
the  Little  Bernard  (Bernard  Salomon). 

BORRAS,  Francisco  Nicolas,  a  Spanish  historical 
painter,  was  born  at  Cocentayna  in  1530,  and 
studied  under  Vincento  Joanes  at  Valencia.  He 
painted  the  great  altar-piece  of  the  monastery 
of  St.  Jerome  at  Ghent,  and  required  for  pay- 
ment to  be  admitted  as  one  of  the  order,  which  was 
gladly  conceded  to  him.  He  painted  an  astonish- 
ing number  of  pictures  for  this  immense  establish- 
ment, devoting  the  greater  part  of  his  life  to  the 
purpose  of  decorating  it.  Some  of  his  pictures 
were  also  at  Cocentayna,  at  Ontiniente,  at  the 
Escorial,  at  Aldaya,  and  Valencia.  He  led  an  ex- 
emplary life,  and  died  at  the  age  of  80.  A  cata- 
logue of  his  principal  works  may  be  seen  in  Cean 
Bermudez. 

BORREKENS,  Jan  Pieter  FRANS,(or  Borekens,) 
who  was  born  at  Antwerp  in  1747,  painted  land- 
Bcapes,  many  of  which  are  ornamented  with  cattle 
and  figures  by  Ommeganck  and  other  masters. 
He  died  at  Antwerp  in  1827. 

BORREKENS,  Matthys,  a  Flemish  engraver, 
was  born  at  Antwerp  about  the  year  1615.  He 
was  chiefly  employed  in  copying  the  plates  of  the 
eminent  engravers,  particularly  Bolswert,  and  some 
others,  for  Martin  van  den  Enden,  and  other  print- 
sellers.  He  worked  entirely  with  the  graver,  and 
appears  to  have  imitated,  though  without  much 
Buccess,  the  style  of  Pontius.  We  have  also  some 
original  plates  by  him  of  portraits  and  other  sub- 
jects.    His  principal  prints  are  as  follow : 

Christ  bound,  and  kneeling,  with  two  Angels  holding 

the  instruments  of  the  Passion  ; 
The  Good  Shepherd  :  after  JJiepenteeck. 
Augustus  Carpzon,   Plenipotentiary  of  the  Duke  of 

Saxony  at  the  treaty  of  Osnaburg  ; 
Gerard   Schepeler,  another    Plenipotentiary  at   that 

treaty  ;  after  Ans.  van  Halle.     1649. 
The  Immaculate  Conception  ; 
St.  Francis  Xavier,  on  a  white  ground  ; 
St.  Ignatius  ;  Rubens  jiinx. ;  M.  van  den  Enden  exc. 
St.  Barbara,  with  a  Tower  on  her  Head  ;  Rubens  pinx. ; 

Mat.  Boreckens  sc.  ;  scarce. 
The  Crucifixion,  with  the  Virgin  Mary,  Magdalene,  and 

St.  John  J  Ant.  vanDycJc  pi)u:.  ;  Eras.  Quellinus  del. 

BORRONI,  Cavaliere  Giovanni  Angelo,  was 
born  at  Cremona  in  1684,  and  was  a  scholar  of 
Angelo  Massarotti,  and  afterwards  of  Robert  Le 
Longe.  On  leaving  those  masters  he  was  taken 
under  the  protection  of  the  noble  family  of  Crivelli, 
and  was  employed  some  years  in  ornamenting  their 
palace.  He  afterwards  painted  several  pictures 
forthe  churches  at  Cremona  and  Milan,  particularly 
in  the  latter  city.  In  the  cathedral  at  Milan  he 
painted  St.  Benedict  in  the  act  of  interceding  for 
the  city.  In  the  Pinacoteca  of  that  city  is  a 
portrait  of  a  man  by  him.  He  died  at  Milan  in 
1772. 

BORSATO,  Giuseppe,  who  was  born  at  Venice 
in  1771,  painted  interiors  of  churches — sometimes 
in  the  manner  of  Canaletto.  In  the  Belvedere, 
Vienna,  there  is  an  '  Interior  of  St.  Mark's,  Venice,' 
by  him.     He  died  in  his  native  city  in  1849. 

BORSSOM,  Abraham  van,  (Borssum,  Borssem 
or  BoRESUM,)  painted  landscapes,  views  of  cities, 
animals,  and  birds.  He  is  supposed  to  be  the  son 
of  a   painter.    Antoon   van    Borssom.      Little    is 

172 


known  of  his  life :  he  was  born  in  Holland  in 
the  second  half  of  the  17th  century,  and  studied 
under  Rembrandt  towards  the  close  of  that  artist's 
career.  A  painting  of  '  Cattle  in  a  Pool '  in  the 
Dulwich  Gallery  is  said  to  be  by  him,  and  a  picture 
of  still-life  in  the  Hermitage,  St.  Petersburg,  is  also 
attributed  to  him.  His  colouring  and  chiaroscuro 
bear  a  resemblance  to  Rembrandt's.  His  drawings 
are  fine,  and  highly  estimated  in  Holland. 

BORSSUM,  Adam  van,  lived  in  1666.  He 
painted  landscapes  and  animals,  and  imitated  A. 
van  der  Meer  and  Paul  Potter.  His  colouring  is 
natural,  and  his  pencilling  firm,  yet  free  and 
spirited. 

BORUM,  Andreas,  who  was  born  at  Hamburg 
in  1799,  studied  painting  in  the  Academy  at 
Munich,  and  then  devoted  himself  to  lithography, 
in  which  he  was  very  successful.  He  died  at  Munich 
in  1853.     The  following  are  his  principal  plates  : 

The  Coliseum ;  after  Rottmann.  Milan  Cathedral ; 
after  Miiiliara.  Sea  piece  ;  after  Adriaan  van  de 
I'elde.     'V'iews  on  the  Rhine. 

BORZONE,  Luciano,  was  born  at  Genoa  in  1590, 
and  was  a  scholar  of  Filippo  Bertolotto,  his  uncle, 
and  of  C.  Corte.  He  painted  history  and  portraits, 
but  particularly  excelled  in  the  latter.  In  the 
church  of  San  Domenico  at  Genoa  is  a  picture  by 
Borzone  of  '  The  Presentation  in  the  Temple,'  and 
in  Santo  Spirito  'The  Baptism  of  Christ.'  While 
he  was  painting  the  ceiling  of  the  Chiesa  della 
Nunziata  at  Genoa  he  fell  from  the  scafEolding,  and 
was  killed,  in  the  year  1645.  He  etched  some 
plates  : 

Portrait  of  Giustiniani.  St.  Peter  delivered  from 
Prison.  Prometheus  devoured  by  the  Vulture. 
Children  playing.    A  set  of  devout  subjects. 

Luciano  Borzone  had  three  sons :  Giovanni  Bat- 
TisTA,  who  died  in  1656,  and  Carlo,  who  died  in 
1657,  completed  several  paintings  begun  by  their 
father ;  Maria  Francesco,  the  third  son,  excelled 
in  painting  landscapes  and  sea-pieces  in  the  style 
of  Claude  Lorrain  and  Gaspard  Poussin,  and  came 
to  be  employed  at  the  court  of  Louis  XIV.  He 
was  born  in  1625,  and  died  in  1679. 

BOS,  Balthazar,  a  Flemish  engraver,  flourished 
about  the  year  1520.  He  engraved  a  middle-sized 
plate,  lengthways,  representing  '  The  Judgment  of 
Paris,'  which  is  probably  from  his  own  design,  as 
he  adds  the  word  fecit  to  his  name. 

BOS,  CoRNELis.     See  Bosch. 

BOS,  Gaspar     See  Van  den  Bos. 

BOS,  Jerom.    See  Aeken,  Hierontmus  van. 

BOS,  LODEWIJK,  was  bom  at  Bois-le-Duc  about 
the  year  1450.  He  painted  flowers,  fruit,  and 
plants,  which  he  finished  in  an  extraordinarily 
polished  manner.  The  insects  on  the  plants  are 
curiously  drawn,  and  painted  with  surprising  pre- 
cision. He  also  painted  small  portraits  in  the  same 
laboured  style.     He  died  in  1507. 

BOS,  Marie  R.  du.    See  Du  Bos. 

BOSBOUM,  Johannes,  Dutch  painter,  born  at  the 
Hague  on  the  18th  of  February,  1817.  He  studied 
in  the  studio  of  B.  J.  Van  Bree,  and  became  well 
known  for  his  town  views  and  church  interiors. 
One  must  especiallj'  mention  his  '  Tomb  of  the 
Count  of  Nassau  at  Breda '  and  '  The  great  Pro- 
testant Church  at  Amsterdam,'  belonging  to  the 
King  of  Bavaria.  He  gained  a  third-class  medal 
at  the  Universal  Exhibition  at  Paris  in  1855,  and 
also  exhibited  in  those  of  1867,  1878,  and  1889, 
obtaining,  amongst  others,  a  silver  medal.     He 


PAINTERS  AND  ENGRAVERS. 


was  created  Chevalier  of  the  Orders  of  the  Lion 
of  the  Netherlands  and  of  Leopold  of  Belgium, 
dying  on  the  14th  of  September,  1891. 
BOSC,  Du.     See  Du  Bosc. 
BOSCH,  B.  VAN  DEN.    See  Van  den  Bossche. 
BOSCH,    CoRNELis,    (Bos,    or    Bos,)   a    Dutch 
engraver,  was  born  at  Bois-le-Duc  about  the  year 
1510.     He  went  to  Italy  when  young,  and  spent 
the  greatest  part  of  his  life  at  Rome,  where  he 
died.     His  style  of   engraving  resembles  that   of 
Marco  da  Ravenna  and  Eneas  Vicus,  but  exhibits 
inferiority.     He  was  more  successful   in  copying 
the  works  of  Raphael  and  Giulio  Romano.     His 
plates  are  executed  with 

the  graver,  in  a  dry  formal  % 

style.   He  usually  marked   ^  r\  t  JP 

them  with  one  of  these   f — r\      fK     i      (\ 
ciphers :  ^  ±J  ,   ^  U     K^    'U 

The  following  are  his  best  works  : 

The  Last  Judgment ;  with  his  cipher.    1530. 

Lot  asd  his  Daughters.     1550. 

David  and  Uriah.    1546. 

Jesus  preaching  to  the  Jews;  inscribed  Seati  qui,  &c. 

Venus  in  her  Car.    1.546. 

Venus  and  Cupid  coming  to  Vulcan.     1546. 

Combat  of  the  Centaurs  and  the   Lapithse;    in  two 

sheets.     1550. 
Death  seizing  a  Monk. 
The  Equestrian  Statue  of  Marcus  Aurelius. 
A  set  of  sixteen  of  Trophies,  Arms,  and  Grotesques; 

Some.     1550  to  1553. 
Moses  breaking  the  Tables  of  the  Law ;  after  Raphael. 

1550. 
Moses  presenting  the  Law  to  the  People;  after  the  same. 

1551. 
The  Triumph  of  Bacchus ;  after  Giulio  Romano  :  in  two 

sheets.     1543. 
The  Entombing  of  Christ ;  after  Frans  Floris.    1554. 
The  Battle  of  the  Giants. 
The  Descent  from  the  Cross.    1545. 

BOSCH,  Elias,  was  a  German  engraver,  whose 
works  are  little  known,  though  they  are  not  desti- 
tute of  merit.  His  plates  are  executed  entirely 
with  the  graver,  in  a  neat,  finished  style.  His 
name  is  affixed  to  a  small  print  representing 
'The  Holy  Family,  with  Angels,'  after  Johann 
von  Aachen. 

BOSCH,  Jac.  van  den.    See  Van  den  Bosch. 

BOSCH,  Jerom.    See  Aeken,  Hieronymds  van. 

BOSCHAERT,  Nicolas,  was  born  at  Antwerp 
in  1696,  and  was  a  scholar  of  Crepu,  a  flower  painter 
of  some  reputation,  whom  he  soon  surpassed,  and 
became  a  very  eminent  artist  in  that  line.  His 
pictures  of  flowers  and  fruit  are  painted  with  great 
lightness  of  touch,  are  delicately  coloured,  and  are 
disposed  with  taste.  He  was  frequently  employed 
in  painting  flowers  and  fruit  in  the  pictures  of 
contemporary  artists. 

BOSCHER,  Philip  van,  flourished  in  the  seven- 
teenth century  ;  no  details  of  his  life  are  recorded. 
A  picture  of  a  '  Widow,'  signed  P.  V.  B.  f.,  in  the 
Hermitage,  St.  Petersburg,  is  attributed  to  him. 

BOSCHI,  Fabrizio,  was  born,  according  to 
Baldinucci,  at  Florence  about  the  year  1.570.  He 
was  a  scholar  of  Domenico  Passignani,  imder 
whom  he  made  so  great  a  progress  that  at  the 
age  of  nineteen  he  executed,  in  fresco,  a  consider- 
able work  of  the  '  Life  of  St.  Bonaventure,'  which 
that  author  reports  to  have  excited  the  admiration 
of  the  artists  of  his  time.  One  of  his  best  per- 
formances was  'The  Martyrdom  of  St.  Peter  and 
St.  Paul,'  painted  for  the  church  of  the  Certosa, 
at  Florence.  Another  capital  picture  by  him  is  in 
the  church  of  the  Dominican  convent  of  St.  Lucia,  ■. 


representing  '  The  Assumption  of  the  Virgin,  sur- 
rounded with  Angels,  and  the  Apostles  below.' 
He  died  in  1642. 

BOSCHI,  Francesco,  was  bom  at  Florence  in 
1619,  and  was  the  nephew  and  scholar  of  Matteo 
Roselli.  He  finished  some  of  the  works  left  im- 
perfect at  the  death  of  his  master,  and  painted 
several  pictures  of  his  own  compositions  for  the 
churches  at  Florence.  His  greatest  merit,  how- 
ever, consisted  in  portrait  painting,  which  he 
practised  with  great  ability.  He  died  in  1675. 
A  '  St.  Matthias '  by  him  is  in  the  Ufiizi  at 
Florence. 

BOSCHINI,  Marco,  was  born  at  Venice  in  1613, 
and  was  educated  in  the  school  of  Palma.  He  did 
not  confine  himself  to  an  imitation  of  the  manner 
of  his  master,  but  occasionally  attempted  the 
bolder  style  of  Tintoretto.  One  of  his  most 
esteemed  works  is  an  altar-piece,  representing 
'The  La.st  Supper,'  in  the  sacristy  of  San  Giro- 
lamo,  at  Venice.  He  also  distinguished  himself 
as  an  engraver,  and  usually  signed  his  name  on 
his  plates,  Marcus  Boschinius.  Boschini  was  also 
a  writer  on  art,  and  was  the  author  of  '  La  Carta 
del  Navegar  pittoresco,'  published  at  Venice  in 
1660. 

BOSCOLI,  Andrea,  was  a  native  of  Florence, 
and  flourished  in  1553.  He  was  a  scholar  of  Santo 
de  Titi,  and  acquired  some  reputation  as  a  painter 
of  history.  His  best  work  is  a  picture  of  '  St. 
John  preaching,'  in  the  church  of  the  Teresiani  at 
Rimino.  He  also  painted  portraits  with  consider- 
able success ;  that  of  himself  is  in  the  Florentine 
GaUerj'.  Florent  le  Comte  says  he  engraved 
nineteen  plates,  but  does  not  specify  them.  He 
died  about  1606* 

BOSELLI,  Antonio,  was  a  Bergamese  artist, 
who  lived  in  the  early  part  of  the  16th  century. 
He  was  a  sculptor  as  well  as  a  painter.  His 
earliest  known  work  is  a  fresco  in  the  church  of 
Ponteranica,  near  Bergamo,  which  is  dated  1495. 
In  1514  he  painted  the  altar-piece  at  Santa  Maria 
Maggiore,  Bergamo,  representing  '  Christ  in  Glory, 
with  the  Virgin  and  Saints.'  In  the  Lochis  Car- 
rara Gallery  of  the  same  city  is  a  panel  with 
St.  Lawrence,  between  SS.  John  the  Baptist  and 
Barnabas  ;  and  in  the  church  of  San  Cristoforo  is 
a  picture  representing  '  St.  Peter,  St.  Paul,  and  St. 
Luke,'  and  bearing  the  inscription,  Hoc  opus  An- 
tonium  scito  pinxisse  Bosellum,  die  23  Februarii, 
1509.  In  the  church  of  the  Augustines  is  another 
of  his  works  representing  '  The  Virgin  and  Infant 
Jesus  in  the  clouds,  and  several  Saints  below.' 
Records  prove  that  he  was  living  as  late  as  1627, 
and  it  is  believed  that  he  assisted  Pomponio 
Amalteo,  in  Friuli,  in  the  years  15.34  to  1536.  The 
dates  of  his  birth  or  death  are  not  known 

BOSELLI,  Felice,  was  bom  at  Piacenza  in 
1650,  and  was  a  disciple  of  Gioseffo  Nuvolone. 
For  some  time  he  attempted  historical  painting,  in 
which  he  was  not  very  successful  ;  but  he  after- 
wards adopted  a  branch  of  the  art  more  suited  to 
his  genius,  and  became  a  very  reputable  painter  of 
animals,  birds,  and  fish.  His  pictures  of  these 
subjects  are  highly  esteemed  in  his  native  country, 
and  are  to  be  found  in  the  best  collections  at 
Piacenza.  He  succeeded  so  well  in  copying  an- 
cient pictures  as  to  deceive  experienced  judges. 
He  died  in  1732,  aged  82. 

BOSER,  Karl  Friedrich  Adolf,  who  was  born 
at  Halbau  in  Prussian  Silesia  in  1811,  studied  in 
Dresden,  Berlin,   and    Diisseldorf ;   his   paintings, 

173 


A  BIOGRAPHICAL  DICTIONARY  OF 


chiefly  genre  subjects  and  portraits,  were  popular. 
He  died  at  Diisseldorf  in  1881. 

BOSHART,  WiLHELM,  who  was  bom  at  Munich 
in  1815,  at  first  studied  for  the  medical  profession  ; 
but,  abandoning  that,  he  devoted  himself  in  1844 
to  art,  studied  under  E.  Schleicb,  and  soon  became 
famous  for  his  landscapes.     He  died  in  1878. 

BOSIO,  Antonio,  a  Romish  priest,  who  was  a 
Maltese  by  birth,  reopened  and  explored,  towards 
the  close  of  the  16th  century,  the  catacombs  of 
Rome.  He  made  accurate  engravings  of  the  most 
remarkable  paintings  and  objects  which  he  found 
there,  and  pubhshed  them  together  with  explana- 
tory text  (see  Kugler's  '  Handbook  of  Painting,' 
revised  by  Lady  Eastlake,  p.  12.     1874). 

BOSSAERT,  Thomas  Willeboets.     See  Wille- 

BORTS. 

BOSSAM,  John,  an  English  painter,  lived  in  the 
reigns  of  Edward  VI.,  Mary,  and  Elizabeth.  Nicho- 
las Hilhard  calls  him  "  a  most  rare  English  drawer 
of  story  works  in  black  and  white,"  and  says  that 
"for  his  skill  he  was  worthy  to  have  been  Serjeant 
painter  to  any  king  or  emperor."  It  is  believed 
that  he  became  a  minister  in  the  Church. 

BOSSART,  Robert,  was  a  German  engraver 
who  flourished  about  the  j-ear  1595.  He  is  sup- 
posed to  have  been  a  pupil  of  Hendrik  Goltzius, 
from  the  resemblance  in  their  style,  although  that 
of  Bossart  is  much  inferior.  He  engraved  a  set  of 
prints,  in  which  the  different  nations  of  Europe 
are  represented  by  figures,  emblematical  of  what 
each  country  was  celebrated  for.  He  also  engraved 
a  portrait  of  B.  Spranger,  dated  1695. 

BOSSCHAERT,  Thomas  Willeboets.  See  Wil- 
leboets. 

BOSSCHE,  B.  VAN  den.    See  Van  den  Bossche. 

BOSSE,  Abraham,  a  French  engraver,  was  born 
at  Tours  in  1602.  He  was  the  son  of  a  tailor,  and 
went  to  Paris  to  gain  instruction  in  art  about  the 
year  1617,  but  under  whom  he  studied  does  not 
appear.  Becoming  acquainted  with  the  mathema- 
tician Desargues,  whose  works  he  afterwards  pub- 
lished, he  devoted  himself  to  the  study  of  perspective, 
and  became  professor  of  that  art  in  the  Academj' 
of  Painting.  He  was  also  elected  an  honorary 
academician,  but  his  vanity  and  bad  temper  were 
before  long  the  cause  of  a  quarrel  with  his  col- 
leagues, and  of  his  ultimate  expulsion  from  their 
ranks.  From  1648  to  1654  the  diplomas  had  been 
given  in  the  name  of  M.  Martin  de  Charmois,  one 
of  the  principal  founders  of  the  Academy  and  its 
acknowledged  chief,  but  in  the  last-named  year 
the  Academy,  deeming  this  practice  to  be  incon- 
sistent with  its  dignity  and  freedom  of  action, 
resolved  that  all  its  diplomas  should  be  returned 
and  exchanged  for  new  ones.  To  this  unanimous 
decision  of  his  colleagues  Bosse  refused  to  submit, 
unless  the  phraseology  common  to  all  were  re- 
placed by  certain  laudatory  words  which  he  had 
contrived  to  get  inserted  in  the  original  document. 
Being  unwilling  to  precipitate  a  quarrel,  the 
Academy  allowed  the  matter  to  rest  for  nearly 
three  years,  during  which  time  Bosse  not  only  went 
to  its  meetings,  but  circulated  against  it  pamphlets 
overflowing  with  wit  and  hatred.  At  length  there 
was  no  alternative  left  but  to  declare  Bosse  deprived 
of  his  rank  of  academician.  He  left  Paris  and  retired 
to  Tours,  but  before  long  he  returned  to  the  capital, 
where  he  resided  until  his  death,  which  took  place  on 
the  15th  of  February,  1676.  He  was  buried  in  the 
Protestant  cemetery  of  Les  Saints-Peres.  Bosse  ap- 
pears to  have  formed  his  style  upon  that  of  Callot, 

174 


and  his  plates,  which  are  etched  and  then  finished 
with  the  graver,  display  much  spirit  and  freedom. 
They  consist  mainly  of  allegorical  figures,  scenes  of 
civil  life,  popular  types,  costumes,  frontispieces, 
and  vignettes.  He  also  practised  painting  and  archi- 
tecture, and  wrote  several  works  on  those  arts  and 
on  perspective,  which  are  described  in  the  "  Cata- 
logue des  Traitez  que  le  sieur  Bosse  amis  au  jour," 
1674.  The  best  known  of  these  are  the"Traicte 
des  manieres  de  graver  en  taiUe  douce  sur  I'airin," 
1645,  which  was  republished  by  Cochin  in  1745, 
the  "  Traits  des  manieres  de  dessiner  les  Ordres  de 
I'Architecture  antique,"  1664,  and  "  Le  Peintro 
converty  aux  precises  et  universelles  regies  de  son 
Art,"  1667,  which  contains  some  curious  informa- 
tion respecting  the  disputes  which  arose  between 
the  author  and  his  colleagues  in  the  Academy  of 
Painting.  He  painted  in  the  manner  of  Callot,  and 
his  pictures  are  very  rare.  The  Louvre  has  no 
example,  but  there  is  one,  '  The  Foolish  Virgins,' 
in  the  Musee  de  Cluny,  and  another,  '  An  Interior," 
in  the  Museum  of  Douai.  M.  Georges  DuplessL? 
published  in  1859  the  "Catalogue  de  I'CEuvre 
d' Abraham  Bosse,"  in  which  are  carefully  described 
1449  works,  most  of  which  are  from  the  engraver's 
own  designs.  Besides  these  M.  Duplessis  enumer- 
ates 57  pieces  executed  by  Bosse  in  conjunction 
with  other  artists.  The  following  are  the  most 
important  of  his  works  : — 

David  holding  his  sling  (fronde),  the  head  of  Goliath  at 

his  feet ;  beneath  are  eight  verses  in  praise  of  the 

Fronde.     1651. 
Judith  putting  the  head  of  Holofemes  in  a  bag. 
The  Virgin  and  ChUd,  with  four  Angels  above ;  within 

a  border ;  after  St.  Igny. 
The  History  of  Jezebel ;  sis  plates. 
The  Parable  of  the  Prodigal  Son  :  six  plates. 
The  Parable  of  the  Eich  Man  and  lazaras ;  three  plates. 
The  Parable  of  the  Wise  and  Foohsh  Virgins ;  seven 

plates. 
The  Acts  of  Mercy ;  seven  plates. 
La  deroute  et  confusion  des  Jansenistes.     1654. 
The  Senses ;  five  plates. 
The  Ages  of  Man  ;  four  plates.     1636. 
The  Seasons  ;  four  plates. 
The  Quarters  of  the  World ;  four  plates. 
The  Elements  ;  four  plates. 
The  Gauls  imploring  the  clemency  of  Csesar. 
IDustrations  to   Hozier's  "Noms,  Snmoms,  Qnalitez, 

Armes,  et   Blasons  des   Chevaliers  et   Officiers  de 

rOrdre  du  S.  Esprit,"  1634 ;  four  plates. 
The  Marriage  of  Ladislaus  IV.,  King  of  Poland  and 

Sweden,  and  Louisa  Maria  de  Gonzaga,  Princess  of 

Mantua,  at  Fontainebleau,  1645. 
Jacques  Callot,  the  engraver. 
Louis  XIII.,  King  of  France,  as  Hercules. 
James  Howell,  the  historiographer ;   full  length,  the 

head  engraved  by  Mellan. 
Cardinal  de  Richelieu. 

The  Infirmary  of  the  Hopital  de  la  Charity  at  Paris. 
Le  Jardin  de  la  noblesse  fran^oise,  1629 ;    eighteen 

plates  ;  after  St.  Igtiy  and  Bosse. 
La  noblesse  fran^oise  a  I'EgUse ;  thirteen  plates ;  after 

St.  Igny. 
Les  Gardes  fran^oises  ;  nine  plates. 
Les  Cris  de  Paris  ;  twelve  plates. 
Les  Quatre  Jardinieres  ;  four  plates  ;  after  BeUange. 
Le  Manage  a  la  ville  ;  six  plates. 
Le  Manage  a  la  campagne ;  three  plates. 
Le  Mari  qui  bat  sa  femme :    La  Femme  qui  bat  son 

man ;  two  plates. 
The    Painter,   the   Sculptor,  the  Engraver,  and   the 

Priater ;  four  plates. 
The  Schoolmaster  and  the  Schoolmistress  ;  two  plates. 
The  Trades ;  seven  plates. 
Lettre    amoureuse    du    Capitaine    Ertranagant    a  sa 

Maistresse :  Eeponse  de  la  Damoiselle  a  la  lettre  du 

Capitaine  Extrauagant ;  two  plates.    1640. 


PAINTERS  AND  ENGRAVERS. 


Am  buueurs  tres  iliustres  et  haut-crieurs  du  Koi  boit ; 
twenty-four  small  subjects  engraved  on  one  plate  and 
intended  to  be  cut  up  and  drawn  for  on  the  FSte 
des  Eois.  r   j;  q. 

BOSSI,  Benigno,  an  Italian  designer  and  engraver, 
was  born  at  Porto  d'Arcisato,  in  the  Milanese, 
in  1727.  He  was  intended  to  have  studied  paint- 
ing under  Pompeo  Batoni,  but  the  death  of  that 
artist  prevented  it,  and  he  was  advised  by  Mengs 
and  Dietrich  to  apply  himself  to  engraving.  He 
stayed  a  long  time  at  Nuremberg  and  at  Dresden, 
but  during  the  seven  years'  war  he  was  under  the 
necessity  of  leaving  Saxony,  and  went  in  1760  to 
Parma,  where  he  was  favoured  with  the  patronage 
of  the  duke.  He  died  there  about  1800.  We 
have  the  following  prints  by  him  : 

His  own  Portrait. 

The  Presentation  in  the  Temple.     1755. 

Forty  small  etchings  of  Heads,  and  other  subjects  ;  very 
spirited. 

A  set  of  Vases,  and  a  Masquerade ;  after  Petitot. 

Four  of  Trophies.     1771. 

Four  of  the  Attributes  of  the  Seasons ;  circular     1770. 

Two  of  Children. 

A  set  of  twenty-nine  small  plates ;  after  the  drawings  of 
Tarmigiano. 

Allegorical  figures  representing  the  Towns  in  Piedmont. 

St.  Catharine;  after  the  celebrated  picture  belonging  to 
the  family  of  SanvitaU.  The  most  esteemed  plate  of 
the  artist. 

BOSSI,  Giuseppe,  of  Milan,  who  was  born  at 
Busto  Arsizio  near  Milan  in  1777,  studied  paintings 
from  works  in  the  Brera  and  at  Rome.  On  his  re- 
turn to  Milan  he  became  secretary  of  the  Academy, 
for  which  he  acquired  casts  and  pictures  in  Paris. 
He  was  instrumental  in  the  establishment  of 
Schools  of  Anatomy  and  of  Mosaic  Painting.  Be- 
sides executing  numerous  historical  works,  he  made 
a  copy  of  Leonardo's  '  Last  Supper,'  and  also  wrote 
a  Life  of  that  artist:  and  furthermore  published 
poems  in  the  Milanese  dialect.  He  died  at  Milan 
in  1816 ;  he  is  represented  in  the  Uffizi  by  his  own 
portrait,  and  in  the  Pinacoteca  at  Milan  by  his  own 
portrait  and  by  a  Dance  of  Amorini. 

BOSSIUS,  Jacob,  an  old  Flemish  engraver,  was 
born  about  the  year  1520.  He  resided  chiefly  at 
Rome,  and  he  is  supposed  to  have  learned  the  art 
of  engraving  fronj  some  of  the  pupils  of  Marc- 
Antonio.  He  worked  with  the  graver  in  a  neat 
but  rather  stiff  style,  and  his  drawing  is  not  very 
correct.  His  prints,  however,  possess  considerable 
merit.  He  sometimes  marked  his  plates  with  his 
name  at  length,  and  sometimes  BB.  We  have  the 
following  by  him : 

Portrait  of  Michelangelo  Buonarroti. 

Bust  of  Cardinal  Otto  Truchsess,  of  Albani ;  with  a 
border,  and  an  emblem  of  Charity ;  Jac.  Bossim  Belgia 
incidebat. 

Bust  of  St.  Thomas  Aquinas;  Jacob  Bossius  Belgta 
incidit. 

The  Crucifixion  ;  Jacobus  Bossius  incid. 

Four,  of  the  Four  Evangelists;  marked  B.  B.  F. — 
Cock^  exc, 

Jacob's  Ladder ;  after  Raphael ;  marked  Jac.  b  b. 

St.  Peter   and  St.  John  curing   the  lame  Man  ;  Jac. 
Bos.f. 

The  Statue  of  Pyrrhus,  King  of  Molossia ;  after  the  an- 
tique ;  signed  Jacobus  Bossius  Belgia  incid.     1562. 

BOSSU.     See  Le  Bosstj. 

BOTELLI,  Felice,  who  was  born  at  Piacenza  in 
1652,  studied  under  Nuvolone,  and  painted  animals, 
birds,  and  fish  with  great  spirit  and  beauty.  He 
died  in  1732. 

BOTET,  F.,  a  native  of  France,  flourished  about 
the  year  1750.     Among  other  prints  he  engraved 


some   plates    representing    gallant    subjects    and 
bamboohades,  after  Charles  Antoine  Coypel. 

BOTH,  Andries,  was  born  at  Utrecht  about 
1609.  He  followed  almost  the  same  career  as  his 
brother,  Jan  Both, — studied  under  liis  father,  then 
under  Bloemaert,  and  subsequently  accompanied  his 
brother  to  France  and  Italy.  He  chiefly  employed 
his  time  in  painting  figures  in  his  brother's  land- 
scapes ;  and  works  entirely  by  him  are  very  rare. 
He  was  drowned  in  a  canal  at  Venice  in  or  before 
1644,  and  his  loss  is  said  to  have  caused  his  brother 
great  atfliction.  Independent  of  the  reputation 
Andries  Both  acquired  by  the  charming  figures 
whieli  he  introduced  into  the  landscapes  of  his 
brother,  he  painted  several  pictures  of  his  own 
composition,  in  the  manner  of  Bamboccio,  but 
more  agreeably  coloured  ;  they  generally  repre- 
sent merry-makings,  fairs,  and  quack-doctors,  sur- 
rounded by  figures,  designed  with  great  humour, 
and  full  of  character :  they  are  highly  esteemed. 
He  also  practised  the  art  of  engraving  with  some 
success.     We  may  mention  by  him  :  _. 

St.  Anthony  praying,  with  a  skull ;  marked  ^yr}oth, 
reversed. 

St.  Francis,  with  a  crucifix  before  him  ;  the  same. 

Bust  of  a  Man,  in  Profile,  with  a  Cap  and  Feather ; 
marked    TV) 

Two  Beggars,      xlj • 

Two  of  Dutch  Merry-makings ;  J .  Both  iiiv.  etfec. 

Six  Landscapes,  numbered  ;  of  which  the  first  is  marked 
A.  Both. 

The  Five  Senses,  represented  by  grotesque  figures  ;  de- 
signed by  Andries  and  engraved  by  Jan  Both. 

BOTH,  Jan,  was  bom  at  Utrecht  about  1610. 
He  and  his  elder  brother  Andries  studied  under 
their  father,  who  was  a  painter  on  glass,  and  from 
him  they  learned  th^  first  rudiments  of  design  ;  but 
they  were  afterwards  placed  under  Abraham  Bloe- 
maert, with  whom  they  studied  until  they  found  them- 
selves sufiBciently  advanced  in  art  to  travel.  They 
journeyed  through  France  and  Italy,  and  made  a  stay 
in  Rome,  where  Jan  Both,  inspired  by  the  beauty 
of  the  scenes  around  him,  and  emulated  by  the 
applause  bestowed  on  the  works  of  Claude  Lorrain, 
was  not  long  before  he  produced  some  landscapes 
that  received  the  unqualified  admiration  of  the 
artists  themselves ;  and  Andries,  who  had  studied 
the  works  of  Bamboccio,  decorated  them  with 
figures,  painted  in  such  perfect  unison  with  the 
landspapes  that  it  could  hardly  be  believed  that 
they  were  not  by  the  same  hand.  The  figures  in 
no  way  intruded  on  the  enchanting  effect  of  the 
landscape,  and  the  landscape  occasionally  withheld 
its  attraction  to  give  value  to  the  charm  of  the 
figures.  The  sympathy  of  their  affections  had 
blended  itself  with  the  exertion  of  their  talents ; 
and  in  their  works  everything  was  warm,  tender, 
and  harmonious.  The  landscapes  of  Both  exhibit 
the  most  beautiful  scener3' ;  his  colour  is  glowing, 
yet  delicate,  and  there  is  a  sparkling  effect  of 
sunshine  in  his  pictures  that  has  scarcely  been 
equalled.  Sometimes  we  admire  the  freshness  of 
nature,  enlivened  by  the  first  beams  of  the  rising 
sun ;  at  others  the  brilliant  glow  of  its  meridian 
splendour ;  and  we  sometimes  contemplate  the  rich 
tintings  of  evening  in  an  Italian  sky.  The  figures 
and  cattle  by  Andries,  with  which  they  are  en- 
riched, are  grouped  and  designed  with  great  taste 
and  elegance.  The  works  of  these  excellent  artists 
had  reached  a  distinction,  even  in  Italy,  that  se- 
cured to  them  both  fortune  and  fame,  when  a 
melancholy  accident  cut  asunder  the  tender  tie  by 
which  they  were  united,  and  deprived  the  world  of 

175 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  combination  of  their  powers.  While  they  resided 
at  Venice,  returning  home  from  an  entertainment, 
in  or  before  1644,  Andries  imfortunately  fell  into 
one  of  the  canals,  and  was  drowned.  Both  did  not 
long  remain  in  Italy  after  the  death  of  his  brother, 
but  returned  to  Utrecht,  where  he  endeavoured,  it 
is  said,  to  supply  his  loss  by  having  the  figures 
in  his  landscapes  painted  by  Comelis  Poelenburg. 
He  died  after  1662.  (See  'Catalogue  of  Dulwich 
Gallery'  by  Dr.  Richter.) 

The  following  are  some  of  his  principal  works  : 
his  brother  Andries  assisted  in  the  greater  part ; 
they  are  nearly  invariably  signed  J.  Both — the  J 
and  the  B  interlaced. 

Amsterdam.    Gallery.     Italian  Landscapes  (three). 
A  Farm. 
„         Artist  studying  from  Nature  (one 
of  his  best  tcorks). 
Antwerp.        Museum.    Italian  Scene. 
Berlin.  Gallerj/.     Italian  Landscape.     1650. 

Brussels.  Galleri/.     Italian  Landscape. 

Copenhagem.  Gallery.     Italian  Landscapes  {tico). 
Dresden.  Gallery.     Landscapes  with  Figures  (five). 

Dulwich.  College.    A  Mountain  Path  (a;i(i/oi/ro<Aers, 

in  the  style  of  Claude  Lorrain). 
Florence.  Vffizi.    Landscape  with  figures. 

Hague.  Gallery.     Italian  Landscapes  (iioo). 

London.        Nat.  Gall.    Landscape — a  party  of  Muleteers 
{one  of  his  best  works). 
„  „         Landscape     with     Figures      {the 

figures  by  Poelemburg  represent 
the  '  Judgment  of  Paris '). 
„  „         Eocky  Italjan  Landscape. 

„  „  Cattle  and  Fignres. 

„  „         Outside  the  Walls  of  Rome. 

„  „  River  Scene  {all  signed). 

„     Buckingham  Pal.  Baptism  of  the  Eunuch. 
Munich.     Pinakothek.     Landscapes  {six). 
Paris.  Louvre.      Landscapes  {t^co). 

Petersburg.  Hermitage.  Landscapes  (tico). 

The  admirers  of  etchings  are  indebted  to  these 
able  painters  for  a  few  plates,  which  are  executed 
in  so  picturesque  and  masterly  a  style  that  we 
regret  they  had  not  more  frequently  amused  them- 
selves with  the  point.     By  Jan  Both  we  have : 

A  set  of  four  upright  Landscapes ;  signed  J.  Both  fee. 
-A  set  of  six  Landscapes  ;  lengthways ;  J.  B.f. 
A  Landscape,  with  loaded  Mules  ;  Both  fee. 
A  Landscape,  with  a  Traveller  seated,  with  a  Basket ; 

J,  Both  inv.  et  fee. 
The  Five  Senses ;  from  the  designs  of  Andries  Both. 

BOTT,  — ,  is  supposed  to  have  been  a  pupil  of 
Moucheron.  A  landscape,  in  the  Hermitage,  St. 
Petersburg,  bears  his  name  and  the  date  1677. 

BOTTALLA,  Giovanni  Maria,  was  bom  at 
Savona,  in  the  Genoese,  in  1613.  According  to 
Soprani  he  went  to  Rome  when  he  was  young,  and 
studied  some  time  under  Pietro  da  Cortona.  He 
was  taken  into  the  protection  of  Cardinal  Sacchetti, 
for  whom  he  painted  several  pictures,  which  were 
afterwards  placed  in  the  Capitol  by  Benedict  XIV. 
The  most  important  of  these  was  '  The  Meeting  of 
Jacob  and  Esau.'  He  acquired  the  name  of  '  Raffael- 
lino,'  from  his  great  veneration  for  the  works  of 
Raphael,  but  he  never  divested  himself  of  the 
style  of  Pietro  da  Cortona.  His  other  works  are 
in  the  churches  of  Naples  and  Genoa.  He  died  at 
Milan  in  1644. 

BOTTANI,  Giuseppe,  was  bom  at  Cremona  in 
1717,  and  studied  first  at  Florence  under  Meucci 
and  Puglieschi,  and  in  1740,  at  Rome,  under 
Agostino  Masucci.  He  retumed  in  1745,  and  estab- 
lished a  school  of  painting  at  Cremona,  and  also 
gained  considerable  reputation  for  painting  land- 
scapes, in  the  style  of  Gaspard  Poussin,  into  which 

176 


he  introduced  figures  in  the  pleasing  manner  of 
Carlo  Maratta.  In  1769  he  was  made  director  of 
the  Academy  at  Mantua.  His  only  historical  work 
worthy  of  norice,  '  St.  Paola  taking  leave  of  her 
Attendants,'  is  mentioned  by  Lanzi,  as  being  in 
the  church  of  SS.  Cosmo  e  Damiano  at  Milan :  it 
is  now  in  the  gallery  there,  which  also  possesses 
Bottani's  own  portrait  by  himself. 

BOTTICELLI.     See  Filipbpi. 

BOTTSCHILDT,  Samuel,  a  painter  and  en- 
graver, was  bom  at  Sangerhausen,  in  Saxony,  in 
1641.  He  painted  historical  subjects  with  some 
success,  and  was  made  painter  to  the  court,  and 
keeper  of  the  Electoral  Gallery  at  Dresden,  in 
which  city  he  established  an  academy  for  the  in- 
strucrion  of  the  young  artists  of  his  country.  He 
died  at  Dresden  in  1707.  We  have  the  following 
etchings  by  him,  some  of  which  are  from  his  own 
designs : 

The  exterminating  Angel  destroying  the  Army  of  Sen- 
nacherib ;  5.  Botsehild,  aequo  forti. 

Four  of  Allegorical  Figures. 

Four  of  the  Times  of  the  Day. 

Two  emblematical  subjects,  one  of  Hope  and  Patience, 
the  other  Faith  and  Charity  ;  oval. 

Ulysses  and  Epeus  giving  the  Dimensions  of  the  Trojan 
Horse. 

Hercules,  with  Cupid  spinning. 

BOUCHARD,  Joseph,  a  French  engraver,  flour- 
ished about  the  year  1760.  He  engraved  several 
plates  representing  buildings  and  antiquities,  which 
are  executed  in  a  neat,  finished  style. 

BOUCHARDON,  Edme,  a  French  sculptor, 
architect,  and  engraver,  was  bom  at  Chaumont- 
en-Bassigni  in  1698.  After  studying  in  Italy  he 
established  himself  in  Paris,  where  he  died  in 
1762.  His  portrait  by  himself  is  in  the  UflSzi, 
Florence.     He  engraved : 

Two  Portraits  of  Cardinal  Borghese ;  after  Bernini. 
Two  Studies  ;  after  Carlo  JIaratti. 
A  little  Cupid :  oval. 

BOUCHE,  Mabtin,  an  engraver,  is  believed, 
from  the  inscription  on  some  of  his  prints,  to  have 
been  a  native  of  Antwerp.  He  worked  chiefly  for 
the  booksellers,  and  was  principally  employed  on 
portraits.  His  plates  are  executed  almost  wholly 
with  the  graver,  in  a  neat  but  stiff  style,  and  they 
are  not  without  merit.     Among  his  portraits  are : 

John  Fenwick,  a  Jesuit,  who  was  ezecnted  at  Tyburn, 

1679. 
Thomas  Harcott,  another  Jesuit ;  signed  Martin  Bouehe 

sc.  Anticerpia. 

He  engraved  several  others  of  the  same  Order,  who 
suffered  in  England,  and  represented  them  with  a 
knife  in  their  breast,  indicative  of  their  sufferings. 
BOUCHER,  Francois,  a  French  painter  and 
engraver,  was  bom  in  Paris  on  the  29th  of  Sep- 
tember, 1703.  His  father  designed  patterns  for 
embroidery,  and  from  him  Boucher  no  doubt 
received  his  earliest  instruction  in  art.  He  was 
afterwards  a  pupil  of  Le  Moine,  but  is  said  to 
have  remained  with  him  only  three  months,  wlien 
he  became  the  assistant  of  Jean  Fran9ois  Cars,  the 
father  of  Laurent  Cars,  who  employed  him  in 
making  designs  for  the  headings  of  the  "  theses  " 
and  other  works  of  which  he  was  the  publisher. 
Having  in  1721  designed  a  series  of  illustrations  to 
Daniel's  "Histoire  de  France,"  and  subsequently  en- 
graved for  M.  de  Julienne  the  plates  of  Watteau's 
"  Livre  d'Etudes,"  he  in  1723  gained  the  first  prize 
at  the  Academy  with  his  picture  of  '  Evilmerodack 
setting  free  Jehoiakim ' ;   but,  through  want  of 


J^mf/,  Jl 


m.s<,n4f/f!r. 


O) 


PAINTERS  AND  ENGRAVERS. 


influential  friends,  he  was  not  sent  to  Rome.  In 
1727,  however,  he  went  to  Italy  at  his  own  expense, 
in  company  with  Carle  van  L^q,  and  reached 
Rome  in  the  following  year.  He  returned  to  Paris 
in  1731,  and  speedily  gained  an  immense  reputation 
in  the  operatic  circles  and  gay  society  which  he 
frequented.  In  1734  he  was  admitted  into  the 
Academy  vipon  his  picture  of  '  Rinaldo  and  Ar- 
mida,'  which  is  now  in  the  Ijouvre.  He  was  also 
attached  to  the  tapestry  manufactory  at  Beauvais, 
and  upon  the  death  of  Oudry  in  1755  became 
inspector  at  the  Gobelins ;  but  this  appointment  he 
resigned  in  1765,  when  he  succeeded  Carle  van  Loo 
as  first  painter  to  the  king.  His  abilities  naturally 
attracted  the  attention  of  Madame  de  Pompadour, 
for  whom  he  painted,  in  1753,  the  'Four  Seasons,' 
as  well  as  the  two  fine  pictures  of  '  Sunrise  '  and 
'Sunset,'  which  are  in  the  collection  of  Sir  Richard 
Wallace.  He  also  decorated  with  idyllic  and  erotic 
subjects  the  boudoir  at  the  Hotel  de  I'Arsenal 
in  which  Madame  de  Pompadour  was  wont  to 
receive  her  royal  lover.  The  decorations  of  this 
apartment  were  purchased  some  years  ago  by 
the  late  Marquess  of  Hertford,  and  are  said  to 
be  most  charming  examples  of  the  artist's  style. 
Boucher  likewise  painted  five  or  six  times  the  por- 
trait of  the  all-powerful  favourite,  whose  intimate 
friend  and  instructor  in  etching  he  became.  The 
frontispiece  of  her  '  Suite  d'Estampes '  is  from  his 
pencil,  and  many  of  the  plates  bear  traces  of  the 
master's  hand.  Boucher  died  of  asthma  at  his  resid- 
ence in  the  Louvre  on  the  30th  of  May,  1770,  whilst 
sitting  before  an  unfinished  picture  of  '  Venus  at 
her  Toilet,'  and  was  buried  in  the  church  of  St. 
Germain  I'Auxerrois.  He  married,  in  1733,  Marie 
Jeanne  Buzeau,  a  lady  who  painted  miniatures 
which  are  now  generally  attributed  to  her  husband, 
and  who  etched  a  plate  of  two  peasants  sleeping. 
His  wife  survived  him,  but  the  closing  years  of 
his  life  were  clouded  by  the  ill-success  of  his  only 
son,  who  failed  alike  in  painting  and  in  architec- 
ture, and  by  the  deaths  of  his  favourite  pupils 
and  sons-in-law,  Baudouin  and  Deshayes,  to  whom 
he  was  much  attached.  The  extent  and  variety  of 
Boucher's  work  is  amazing.  He  himself  calcu- 
lated that  he  had  made  no  less  than  ten  thousand 
drawings  and  sketches,  and  painted  no  less  than  a 
thousand  pictures  and  studies.  His  pastoral  sub- 
jects, after  the  manner  of  Watteau,  are  his  best 
works.  He  painted  but  few  portraits,  yet  that  of 
Madame  de  Pompadour  in  the  possession  of  M. 
Henri  Didier  is  a  masterpiece.  Although  highly 
esteemed  in  his  own  day,  Boucher  afterwards  sank 
into  undeserved  oblivion,  and  it  is  only  in  recent 
years  that  the  "  Anacreon  of  Painting"  has  been  re- 
stored to  the  place  which  is  his  due.  Voluptuousness 
is  the  idea  which  pervades  almost  all  his  works,  but 
there  is  also  present  a  delicacy  of  colour  and  grace  of 
style  wliich  atone  for  much  that  is  amiss.  There  is 
in  the  'N^crologe  des  Hommes  c^l^bres  de  France' 
for  1771  an  able  notice  of  Boucher,  written  by 
Antoine  Bret,  which  is  as  free  from  the  virulent 
criticism  as  it  is  from  the  extravagant  praise 
alternately  lavished  by  biderot  in  his  '  Salons '  on 
the  "  Painter  of  the  Graces."  Fuller  information 
respecting  the  artist  and  his  works  may  be  found, 
by  those  who  desire  it,  in  M.  Charles  Blanc's  '  His- 
toire  des  Peintres,'  and  in  the  monographs  of  MM. 
de  Goncourt  and  M.  Paul  Mantz.  The  following 
works  of  Boucher  are  in  the  public  galleries  of 
Europe : 


Angers.         Museum.    La  Reunion  des  Arts. 
Edinburgh.  JVat.  Gall.  Portrait  of  Madame  de  Pompa- 
dour. 
London.        Wallace      Twenty-one   Pictures,    including 

Gall.  acme  of  his  finest  works. 

Paris.  Louvre.       Kinaldo  and  Armida. 

„  „  Diana  leaving  the  Bath. 

„  „  Venus     demanding    of     Vulcan 

arras  for  .^ueas. 
7,  „  Pastoral  Subjects ;  four  pictures. 

1,  „  The  Three  Graces. 

„  „  Venus  and  Vulcan. 

,,  „  The  Forge  of  Vulcan. 

"  „  The  Painter's  Studio. 

»  „  A  Young  Lady  with  a  Muff. 

Petersburg.  Sermitage.  The  Repose  in  Egypt. 

„  „  Venus  and  Adonis. 

Stockholm.  Museum.      The  Triumph  of  Galatea. 
„  „  The  Birth  of  Venus. 

„  „  The  Toilet  of  Venus. 

„  „  Leda  and  the  Swan. 

„  „  La  Marchande  de  Modes. 

Versailles.    Trianon.      Neptune  and  Amymone. 

As  in  everything  else  which  he  undertook,  so  in 
his  etchings  Boucher  displayed  the  qualities  of  a 
master.  Although  but  little  more  than  outlines, 
they  are  executed  with  spirit,  ease,  and  grace. 
Prosper  de  Baudicour,  in  the  '  Peintre-Graveur 
continu^,'  enumerates  182  plates,  of  which  about 
44  are  from  his  own  designs.  The  following  are 
the  most  important : 

Figures  de  difffirents  caractires  de  paysages  et  d'etudea 
dessinfes  d'apres  nature  par  Antoine  Watteau;  104 
plates,  including  a  portrait  of  Watteau. 

La  Troupe  italienne  ;  after  Watteau. 

Pomona;  after  the  same. 

La  Coquette  ;  after  the  same. 

View  of  ^Vincennes  ;  after  the  same. 

Livre  d'Etude  d'apr^s  les  desseins  originaux  de  Bloem- 
aert ;  12  plates.    ^ 

Les  Petits  Buveurs  de  Lait ;  after  himself. 

Le  Dessinateur ;  after  himself. 

La  Blanchisseuse  ;  after  himself. 

Children  playing  ;  after  himself;  4  plates. 

Andromeda  ;  after  himself ;  finished  by  Pierre  Aveline. 

Innocence  (Le  petit  Berger);  after  himself;  finiahed 
by  Aveline. 

Kecueil  de  diverses  Figures  chinoises ;  10  plates. 

R.  E.  G. 

BOUCHER,  Jean,  was  bom  at  Bourges  about  the 
year  1700.  He  was  the  elder  brother  of  Prancjois 
Boucher,  and  was  also  a  painter,  though  of  no  great 
celebrity.  He  etched  five  plates,  among  which  is 
the  portrait  of  Antoine  Watteau,  the  pamter. 

BOUCHER-DESNOYERS,  Ahquste  Gaspard 
LoniS,  Baron,  one  of  the  most  eminent  of  modern 
French  engravers,  was  born  in  Paris  on  the  19th 
of  December,  1779.  His  father  held  the  office  of 
commissary-general  in  the  military  household  of 
Monsieur,  afterwards  Louis  XVIII.,  but  through 
unforeseen  misfortunes  young  Desnoyers  was  com- 
pelled to  choose  for  himself  a  career.  Intending 
to  enter  the  corps  of  engineers,  he  devoted  to 
drawing  every  jnoment  which  he  could  spare  from 
the  study  of  matheinatics.  At  the  age  of  twelve 
he  was  introduced  to  Lethiere,  who  admitted  him 
into  his  studio,  where  he  soon  attracted  notice. 
But  the  rapid  progress  which  he  made  in  drawing 
was  but  the  means  by  which  he  hoped  to  attain 
the  end  which  he  had  in  view.  This  desire  was 
soon  accomplished,  for  the  engraver  Darcis,  who 
had  seen  a  '  Head  of  a  Magdalen  '  which  Desnoyers 
engraved  on  tin  when  scarcely  ten  years  old,  took 
him  under  his  care,  and  employed  him  on  the  out- 
lines of  the  plates  after  Carle  Vernet  upon  which 
he  was  then  engaged.     In  1796  an  engraving  in 

177 


A  BIOGRAPHICAL  DICTIONARY  OP 


the  dotted  style  of  a  '  Young  Bacchante,'  from  a 
drawing-  by  Grevedon,  met  with  a  success  -which 
far  surpassed  the  hopes  of  the  young  artist.  He 
nest  produced  a  number  of  small  subjects  of  simOar 
character,  -which  were  very  well  received,  and  at 
the  Salon  of  1799  he  exhibited  his  engraving  of 
'  Venus  disarming  Cupid,'  after  Robert  Lefevre, 
■which  gained  a  prize  of  2000  francs.  In  this  year 
he  entered  the  studio  of  Alexandre  Tardieu.  The 
success  of  his  engraving  in  line  of  '  Hope  support- 
ing Man  to  the  Tomb,'  after  a  sketch  by  Caratfa 
exhibited  at  the  Salon  of  1801,  procured  him  a 
commission  to  engrave  for  the  Musee  the  '  Belle 
Jardiniere '  of  Raphael.  From  this  time  he  rose 
rapidly  to  the  first  rank  in  his  adopted  art,  and  in 
1806  gained  the  large  gold  medal  for  his  engraving 
of  the  celebrated  antique  cameo  of  '  Ptolemy  II. 
Philadelphus  and  Arsinoe,'  belonging  to  the 
Empress  Josephine,  which  is  now  in  the  Hermitage 
Palace  at  St.  Petersburg.  His  next  important 
work  was  the  full-length  of  Napoleon  in  his  coro- 
nation robes,  after  Gerard.  This  was  exhibited  at 
the  Salon  of  1810,  and  for  it  Desnoyers  received 
£2000,  together  with  the  return  of  tlie  plate  after 
600  impressions  had  been  taken  off.  He  engraved 
also  in  1810  a  small  portrait  of  the  Empress  Marie 
Louise,  to  which  a  curious  history  is  attached.  The 
Austrian  princess  had  not  set  foot  on  French  soil 
when  her  portrait  was  being  sold  in  Paris  by  thou- 
sands. The  likenesses  differed,  but  all  were  fright- 
fully ugly.  Napoleon  in  a  rage  sent  in  the  middle  of 
the  night  for  Baron  Denon,  and  commanded  him  to 
go  instantly  to  Desnoyers  and  desire  him  to  engrave 
the  portrait  of  the  future  empress.  "Round  head, 
fair  hair,  high  forehead,''  were  the  brief  instruc- 
tions sent  to  the  artist,  who  worked  day  and  night 
xmtil,  at  the  end  of  four  daj's,  a  proof  was  ready  for 
approval.  The  emperor  thought  it  superb,  and 
had  already  ordered  its  immediate  publication,  when 
he  received  a  faithful  miniature  of  the  archduchess, 
which  rendered  an  alteration  of  the  plate  impera- 
tive, for  the  face  of  the  new  empress,  instead  of 
being  round,  was  a  very  elongated  oval.  Twenty 
impressions  had  been  taken  when  Desnoyers  again 
set  to  work,  and  on  the  morrow  the  authentic  por- 
trait of  Marie  Louise  was  in  circulation  throughout 
Paris.  The  empire  fell,  but  the  talented  engraver 
continued  to  enjoy  the  favour  of  the  court.  A 
member  of  the  Institute  in  1816,  he  was  engraver 
to  the  king  in  1825,  and  a  Baron  in  1828,  receiving 
soon  after  the  cross  of  an  officer  of  the  Legion  of 
Honour.  He  engraved  many  of  the  masterpieces 
of  the  Louvre,  but  after  18-48  he  did  but  little,  for 
age  had  weakened  his  sight,  and  he  died  in  Paris  on 
the  16th  of  February,  1857.  He  appears  to  ad- 
vantage in  his  transcripts  of  the  works  of  ancient 
masters,  especially  Raphael,  whose  characteristics 
he  renders  with  the  greatest  truth  and  skill.  His 
masterpieces  are  the  'Belle  Jardiniere' of  Raphael, 
and  the  'Vierge  aux  Rochers'  of  Leonardo  da  Vinci. 
But,  although  marked  by  exceptional  talent,  his 
engravings  in  line  lack  the  freedom  and  breadth 
which  distinguish  those  which  he  executed  in  the 
dotted  style.  The  landscape  backgrounds  of  his 
plates  were  for  the  most  part  engraved  by  Friedrich 
Giessler  of  Nuremberg. 

Anion,;  Desnoyers'  works  the  first  place  must 
be  assigned  to  his  engravings  after  the  Madonnas 
of  Ra|  hael.     These  are  as  follow  : 

La  BeUe  Jardiniere,  1804.  La  Vierge  an  Donataire, 
1S14.  La  Vierge  au  Linge,  1814.  La  Madonna  della 
178 


Sedia,  1814.  La  Madonna  del  Pesce,  1822.  La 
Madonna  della  Casa  d'Alba,  1S27.  La  Vierge  au 
Berceau,  1831.  La  Belle  Jardimcre  de  Florence, 
1841.     La  Madonna  di  San  Sisto,  1846. 

Desnoyers'  other  works  include  : 

The  Visitation  ;  after  Raphael,  1842.  St.  Catharine  of 
Alexandria;  after  the  same,  1824  The  Transfigura- 
tion ;  aftrr  the  same,  1840.  La  Vierge  aux  Rochers  ; 
after  Leonardo  da  f'inci,  1812.  The  Holy  Family; 
after  the  same.  The  Magdalen;  after  Corregffio. 
Eliezer  and  Kebekah;  after  I'oussin,  1819.  Moses 
rescued  from  the  Waters :  after  the  same.  (The 
landscape  engraved  by  Filhol  and  Niquet.)  Venus 
disarming  Cupid;  after  Robert  Lefevre;  in  dotted 
manner,  1799.  The  Muses  and  the  Pierides ;  after 
Peri)V>  dil  ^'aga,  1831.  Cupid  and  Psyche ;  Cupid 
bending  his  bow;  after  drawings  by  Ingres  from 
antique  sculpture;  for  the  'Musfe  Fran^ais,'  1806. 
Ptolemy  II.  Philadelphus  and  Arsinoe ;  after  a 
draxcing  by  Ingres  from  an  antique  cameo.  Belisarius  ; 
after  Gerard,  1806.  Francis  I.  and  his  sister,  Margaret 
of  Navarre;  after  Richard,  1817.  Hope  supporting 
Man  to  the  Tomb :  after  Caraffa,  1801  Le.s  Penibles 
Adieux ;  afier  Hilaire  Ledru ;  in  dotted  manner, 
1802.  Napoleon  Bonaparte,  First  Consul ;  after 
Robert  Lefevre,  1802.  Napoleon  I.,  Emperor  of  the 
French;  "full-length;  after  Gerard,  1808.  Marie 
Louise,  Empress  of  the  French,  1810.  Napoleon, 
King  of  Rome ;  after  Gerard.  Baron  Alexander  von 
Humboldt ;  an  etching ;  after  a  sketch  by  Gerard, 
1806.  Thomas  Jefferson,  President  of  the  United 
States  of  America;  in  dotted  manner,  1801.  Charles 
Maurice  de  Talleyrand-Peri gord.  Prince  of  Benevento; 
full-length ;  after  Gerard,  1314  fi.  B.  G. 

BOUGH  ET,  Louis  AkdrS  Gabriel,  a  French 
historical  painter,  scholar  of  David,  painted  sub- 
jects from  sacred  and  profane  history,  poetry,  and 
portraits.  He  obtained  the  first  grand  prize  in 
1797,  and  continued  to  exhibit  until  1819.  Gabet 
does  not  mention  the  date  of  his  birth  or  death. 

BOUCHET,  Louis  F.  du.     See  Dn  Bouchet. 

BOUCHOT,  FRAxgois,  a  painter  and  engraver, 
was  bom  in  Paris  in  1800.  He  studied  engraving 
under  Richomrae,  and  then  became  a  pupil  of  Reg- 
nault,  and  subsequently  of  Lethiere,  and  obtained 
the  '  grand  prix  de  Rome '  in  1823.  He  exhibited 
at  the  Silon  from  1824  till  his  death,  which  occurred 
in  Paris  in  1842.  A  'Drunken  Silenus '  by  him  is 
in  the  Lille  Gallery,  and  the  '  Burial  of  General 
Marceau '  in  the  Mairie  at  Chartres.  He  was  also 
celebrated  for  his  portraits. 

BOUCK,  or  BOUCLE,  —  van.     See  Boekel. 

BODCQUET,  Victor,  a  Flemish  painter,  was 
born  at  Fumes  in  1619.  He  was  the  son  of  Marcus 
Boucquet,  a  painte'  little  known.  Descamps  sup- 
poses he  must  have  visited  Italy,  as  his  works 
exhibit  a  manner  that  partakes  little  of  the  taste 
of  his  country.  He  painted  historical  subjects, 
and  was  also  esteemed  as  a  portrait  painter.  His 
works  are  distributed  in  the  different  churches  of 
the  towns  in  Flanders.  The}-  are  well  composed, 
and,  like  those  of  most  of  the  artists  of  his  country, 
are  well  coloured.  In  the  great  church  of  Nieuport 
are  two  altar-pieces  by  this  master,  one  of  which, 
representing  •  The  Death  of  St.  Francis,'  is  par- 
ticularly admired  ;  and  in  the  town-house  there  is 
a  large  picture  by  him,  considered  as  his  principal 
work,  representing  '  The  Judgment  of  Cambyses.' 
The  principal  altar-piece  in  the  church  at  Ostend 
is  by  Boucquet :  it  represents  the  Taking  down 
from  the  Cross.     He  died  at  Fumes  in  1677. 

BODD,  R.,  a  Dutch  engraver,  flourished  about 
the  j-ear  1590.  He  was  principally  employed  in  en- 
graving portraits  for  the  booksellers  :  among  others 
is  a  portrait  of  Hendrik  Goltzius,  the  painter  and 


PAINTERS  AND  ENGRAVERS. 


engraver,  crowned  with  laurel  by  Fame.  It  is 
executed  with  the  graver,  in  a  stiff,  formal  style. 

BOUDAN,  Alexandre,  was  a  French  engraver, 
who  died  in  Paris  in  1671.  There  is  by  him  a 
portrait  of  Anne  of  Austria,  queen  of  Louis  XIII. 

BOUDEWYNS,  Adriaan  Frans,  not  Anton 
Frans  (Bauduins,  or  BAnDouiN),  was  born  at  Brus- 
sels, in  1644  ;  he  studied  under  a  landscape  painter 
named  Ignace  van  den  Stock,  and  was  received  into 
the  Guild  there  in  166.5.  He  then  studied  under 
A.  F.  van  der  Meulen,  and  afterwards  painted 
landscapes  in  an  Italian  manner,  which  Pieter 
Bout  decorated  with  figures.  The  Dresden  Gallery 
has  ten  of  their  joint  productions,  the  Madrid 
Gallery  nine,  the  Uffizi  in  Florence  three,  the 
Louvre  one,  and  the  Vienna  Gallery  has  two,  and 
they  are  also  seen  in  the  Galleries  of  Antwerp, 
Rotterdam,  and  Brunswick.  The  date  of  Boudewyns' 
death  is  not  known  for  certain.  Besides  painting, 
Boudewyns  devoted  much  of  his  time  to  en- 
graving. His  plates  are  chiefly  after  the  pictures 
or  designs  of  Van  der  Meulen,  and  are  etched  in 
a  bold,  free  style,  producing  a  good  effect.  His 
works  are  as  follow 

Six  Landscapes,  with  Figures ;  middle-sized  plates. 
Six  large  Landscapes  ;  dedicated  to  Ph.  de  Cham- 
pagne. Eight  Landscapes,  with  Buildings.  Two 
Stag -hunts  ;  one  dedicated  to  the  Marquis  de  Louvois. 
A  large  Landscape,  with  the  March  of  the  King  to 
Vincennes ;  dedicated  to  Ch.  le  Brun.  A  large  Land- 
scape, with  the  Queen  going  to  Versailles ;  dedicated 
to  the  Due  de  Noailles.  Six  Views  of  Towns  in 
France.  Two  Views  of  Versailles  ;  as  it  was,  and 
as  it  is.  View  of  the  Castle  of  Vincennes.  View 
of  the  Palace  of  Fontainebleau ;  two  sheets.  Two 
Views  of  Gardens  in  Italy  ;  after  A.  Genoeh. 

BOUDIN,  Edgene,  a  distinguished  French 
marine  painter.  The  son  of  a  Honfleur  pilot,  he 
was  from  his  infancy  acquainted  with  the  sea,  and 
none  of  his  fellow-artists  could  equal  him  in  his 
renderings  of  its  atmosphere  and  movement.  He 
was  a  close  student  of  nature,  and  exhibited  first 
at  the  Salon  in  185.3,  but  it  was  not  till  1881  that 
he  was  honoured  with  a  medal  of  the  third  class,  a 
second-class  medal  following  in  1883.  In  1889  he 
gained  the  gold  medal,  and  was  created  knight  of 
the  Legion  of  Honour  in  1892.  Two  of  his  best 
works  are  in  the  Luxembourg,  namely,  '  Une 
Corvette  Russe'and'La  Rade  Villefranche.'  He 
died  in  1898  at  the  age  of  seventy-three.        p.  p 

BOUGH,  Samuel,  a  Scotch  landscape  painter  in 
oil  and  water-colours,  was  born  in  1822  at  Carlisle, 
where  he  worked  for  two  years  in  the  town  clerk's 
office.  He  received  no  systematic  instruction  in 
art,  although  he  became  connected  with  many 
artists.  His  first  efforts  were  in  scene  paintmg 
and  decorating  interiors.  In  1855  he  removed  to 
Edinburgh,  becoming  an  Associate  of  the  Scotch 
Academy  in  1857,  and  a  member  in  1875.  He 
died  at  Edinburgh  in  November  1878.  Amongst 
his  most  important  works  are  : 

Shipbuilding  on  the  Clyde.  Kirkwall.  Borrowdale. 
lijndon,  from  Shooter's  Hill.  St.  Monan's.  Winton 
Castle.  Arran  Hill.  The  Baggage- Waggon.  Ben 
Nevis.    A  Windy  Day. 

BOUHOT,  Etienne,  a  French  painter  of  archi- 
tectural views,  both  exterior  and  interior,  was 
horn  at  Bard-les-Epoisses  (Cote-d'Or)  in  1780.  He 
studied  under  Prevost,  and  his  works  are  numerous 
and  much  esteemed.     He  died  at  Semur  in  1862. 

BOUILLARD,  Jacques,  a  French  draughtsman 
and  line-engraver,  bom  at  Versailles  in  1744,  was 
editor  of  'The  Gallery  of  the  Palais  Royal.'     He 

N  2 


engraved  classical  subjects  after  Poussin,  Annibale 
Carracci,  and  Guido  Reni,  as  well  as  after  Le  Sueur, 
Mignard,  and  Van  Loo.  He  was  a  member  of  the 
Academy  of  Painting  and  Sculpture,  and  died  in 
Paris  in  1806.     His  best  plates  are  : 

A  Holy  Family ;  after  Aimibale  Carracci. 
The  Dream  of  Polyphilus  ;  after  Le  Sueur, 
St.  Cecilia  ;  after  P.  MUfyiard. 

BOUILLON,  Pierre,  a  painter  and  engraver, 
was  born  at  Thiviers  (Dordogne)  in  1776,  and 
studied  under  Monsiau.  He  carried  oft'  the  first 
great  prize  in  painting  in  1797.  Among  other  pic- 
tures he  produced  'Conjugal  Piety,'  exliibited  in 
1804;  'Christ  Resuscitating  the  Widow's  Son' 
(1819);  and  'The  Clemency  of  Caesar  towards 
Cinna.'  The  last  two  were  commissioned  in  1817 
by  the  Government,  and  were  placed,  the  former 
in  the  council  chamber  in  the  Louvre  (where  it 
still  is),  and  the  latter  in  the  palace  of  St.  Cloud. 
He  engraved  the  plates  for  the  '  Musee  des  An- 
tiques,' published  in  three  volumes  folio.  He  died 
in  Paris  in  1831. 

BOUIS,  Andr6.    See  Bouts. 

BOULANGE,  Louis  Jean  Baptiste,  a  French 
landscape  painter,  was  bom  at  Verzy  (Mame)  in 
1812.  He  studied  under  PSris  and  E.  Delacroix, 
and  obtaiined  a  medal  in  1859.  He  died  January 
1878. 

BOULANGER,  Clement,  who  was  born  in  Paris 
in  1805,  studied  under  Ingres,  and  died  in  1842  at 
Manisa  (Magnesia)  in  Asia  Minor.  His  pictures 
are  chiefly  historical,  but  he  also  painted  landscapes 
and  portrails. 

BOULANGER,  Gustave  Rodolphe  Clarence, 
painter,  was  born  ^n  Paris,  April  25,  1824.  He 
laegan  his  art  education  at  an  early  age,  and  when 
only  fourteen  was  sent  by  an  uncle  to  Africa,  where 
he  spent  eight  months  making  sketches,  and  where 
he  seems  to  have  imbibed  his  love  for  Oriental 
subjects.  He  became  a  pupil  of  Paul  Delaroche 
and  of  Jolivet,  and  in  1849  gained  the  'prix  de 
Rome,'  and  remained  in  Italy  till  1856.  He  devoted 
himself  to  Roman  and  Grecian  archaeological 
theiues  somewhat  in  the  manner  of  Mr.  Alma 
Tadema.  In  1882  he  was  elected  a  member  of  the 
Institute,  and  was  long  a  profe-sor  at  the  ficole 
des  Beaux  Arts.  He  married  Madame  Nathalie, 
of  the  Com(5die  Fran9ais,  and  to  this  theatre  he 
presented  a  portrait  of  his  wife,  painted  in  1867. 
He  was  also  the  author  of  a  series  of  mural 
pictures  in  the  Foyer  de  la  Danse  of  the  new 
Opera  house  in  Paris,  and  of  two  in  Prince 
Napoleon's  Pompeian  house  in  the  Avenue  Mon- 
taigne, the  'Flute  Player'  and  the  'Wife  of 
Diumed,'  themes  which  he  several  times  repeated. 
He  died  in  Paris,  September  22,  1888. 

BOULANGER,  Jean,  though  a  native  of  France, 
is  better  known  in  Italy  than  in  his  own  country. 
He  was  born  at  Troyes  in  1606,  but  went  to  Bologna 
when  he  was  young,  and  entered  the  school  of 
Guido  Reni.  Under  that  able  instructor  he  acquired 
a  correct  and  graceful  mode  of  designing,  and  a 
tender  and  harmonious  colouring.  His  merit  re- 
commended him  to  the  protection  of  the  Duke  of 
Modena,  who  appointed  him  painter  to  the  court ; 
and  he  ornamented  the  ducal  palace  with  several 
historical  pictures,  composed  and  painted  in  the 
elegant  style  of  his  master.  He  established  an 
academy  at  Modena,  and  had  many  pupils.  He 
died  in  1660.  In  the  Modena  Gallery  there  are 
live  works  by  him. 

179 


I 


A  BIOGRAPHICAL  DICTIONARY  OF 


BODLANGER,  Jean,  a  French  line- engraver, 
cousin  to  the  painter  of  the  same  name,  was  born 
at  Amiens  in  1607.  He  seems  to  have  attached 
himself  at  first  to  an  imitation  of  the  style  of  Fran- 
fois  de  Poilly,  but  he  afterwards  took  up  a  mode 
of  engraving  which  had  before  been  practised  by 
his  contemporarj',  Jean  Morin,  but  which  he  greatly 
improved,  of  finishing  the  flesh  and  naked  parts 
of  his  figures  with  dots,  instead  of  strokes,  or  with 
a  mixture  of  both,  which  gave  a  very  soft  and 
mellow  effect ;  but  as  he  finished  the  draperies  and 
backgrounds  with  rather  a  harsh  use  of  the  graver, 
there  was  a  want  of  union  in  the  effect  of  his 
plates.  Notwithstanding  this  defect,  his  prints 
have  considerable  merit,  and  are  justly  held  in 
estimation.  He  died  in  Paris  about  1680.  The 
following  are  some  of  his  principal  plates  : 

POETBAITS. 
Uaria  Theresa  of    Austria,   Queen   of  France ;    after 

Frire  Luc. 
Pope  Urban  Tin. ;  J.  Boiilanger  inv.  et  fee. 
Charles  II.,  King  of  England. 
Gustaviis  Adolphus,  King  of  Sweden. 
Ijeopold,  King  of  the  Romans. 
Henry  of  Castile,  Abbot  of  St.  Martin. 
J.  Kegnault  de  Segrais,  of  the  French  Academy. 
J.  Jacques  Olier,  Cure  of  St.  Sepulcre. 
Paul  Beiurier,  Canon  of  St.  Genevieve ;  after  Jacq  Le 

Fevre. 
Diiniel  de  Cosnac,  Archbishop  of  A't  ;  after  Claude  Le 

Febvre. 
v.  Louis  de  Seckendorf ;  after  C.  Seheffer. 
Michael  Nostradamus,  Physician. 
St.  Vincent  de  Paul. 
Mademoiselle  Le  Gras,  Foundress  of  the  Filles  de  la 

Charite. 
Francis  Isidor  de  Hayrien. 
Franijois  de  Clermont,  Bishop  of  Noyon. 

SUBJECTS   FROM    HIS   OWN   DESIG.»IS. 
Two  Busts  of  our  Saviour  and  the  Virgin  Mary. 
Bust  of  the  Virgin,  surrounded  by  a  border  of  Laurel : 

oval. 
The  Virgin  Mary  and  Infant  Jesus ;  half  length. 
The  Virgin  Mary  and  Infant,  with  St.  John  presenting 

a  Cross. 

SD3JECTS   AFTER   DIFFERENT   MASTERS. 
The  Virgin  and  Infant  Christ  holding  some   Pinks, 

called  the  Virgin  of  the  Pinks  ;  after  Raphael. 
A  Bust  of  the  Virgin ;  inscribed  Mater  atnabilis ;  after 

the  same. 
The  Holy  Family,  with  St.  Joseph  giving  the  Infant 

some  Cherries  ;  after  Carracci. 
The  Virgin  of  Passau ;  after  Solaria. 
The  Virgin  Mary,  with  the   Infant  sleeping  in  her 

Arms  ;  after  Guide. 
The  Virgin  and  Infant  Jesus,  with  St.  John  kissing  his 

Foot  ;  after  the  same. 
The  Holy  Family  ;  after  Koel  Coypel. 
The  Holy  Family  ;  half-length  figures ;  after X^ic.  Loir. 
The  Infant  Christ ;  inscribed  Salvator  Mundi,  &c. ;  after 

the  same.     1651. 
Christ  bearing  His  Cross ;  after  Ale.  Mignard. 
The  Virgin  and  Infant,  with  St.  John  kissing  His  Foot ; 

after  P.  Mignard. 
The  Descent  from  the  Cross ;  after  S.  Bourdon. 
The  Entombment  of  Christ ;  after  the  same. 
The  Crucifixion  ;  after  Ch.  le  Briin. 
St.  Francis  de  Paula ;  after  S.  Voiiet. 
The  Dead  Christ  supported  by  Joseph  of  Arimathea. 
The  Pompous  Cavalcade  on  the  occasion  of  Louis  XIV. 

coming  of  age. 

BOULANGER,  Louis,  was  bom  of  French 
parents  at  Vercelli,  in  Piedmont,  in  1806.  He 
studied  painting  under  Guillon-Lethiere  and  A. 
Dev^ria,  and  entered  upon  the  practice  of  art 
under  the  influence  of  the  chiefs  of  the  romantic 
school ;  and  with  an  amount  of  early  renown,  which 
he   afterwards   retained.     He  was   intimate  with 

180 


Victor  Hugo,  who  dedicated  to  him  some  of  his 
poetical  effusions,  a  compliment  which  he  returned 
by  illustrating  the  poet's  works  in  some  of  his 
most  effective  canvases.  Boulanger  obtained  a 
medal  of  the  second  class  in  1827,  and  one  of  the 
first  class  in  1836,  and  the  decoration  of  the 
Legion  of  Honour  in  1840  ;  whilst  in  1860  he  was 
appointed  director  of  the  Imperial  School  of  Fine 
Arts  at  Dijon.  He  had  for  a  time  a  great  reputa- 
tion, but  died  almost  forgotten,  at  Dijon,  in  1867. 
He  exhibited  at  irregular  intervals,  after  1828: 

Mazeppa.    1S28. 

The  Departure.    1S2S. 

The  last  scene  of  Lucrezia  Borgia,  in  water-colours. 
1S34  (purchased  hi/  the  Duke  of  Orleans). 

The  Triumph  of  Petrarch.    1836. 

St.  Jerome  with  Roman  Fugitives.    1855. 

Romeo  purchasing  the  Poison.    1857. 

Lazarillo  and  the  Beggar.    1357. 

Don  Quixote  and  the  (Joat-herd.    1859. 

Othello.     1859. 

Macbeth.     1859. 

"  Vive  la  joie."    1866. 

BOULANGER,  Matthieu,  was  a  native  of 
France,  and  flourished  about  the  year  1680.  He  is 
supposed  to  have  been  a  son  of  Jean  Boulanger, 
the  engraver.  He  was  chiefly  employed  in  engrav- 
ing portraits  for  the  booksellers,  which  are  executed 
in  a  stiff,  heavy  style. 

BODL.\NGER,  Pierre  Esimanuel  Hippoltte,  a 
Belgian  landscape  painter,  was  born  in  1837.  He 
studied  in  the  Academy  at  Brussels  and  at  Tervu- 
eren  and  the  neighbourhood.  He  exhibited  at  the 
Brussels  Exhibition  in  1866,  and  at  Ghent  in  1867, 
when  his  pictures  were  much  noticed.  He  ob- 
tained a  medal  in  1872  for  his  '  AU^e  des  Charmes.' 
He  also  exliibited  '  Environs  de  Tervueren  '  at  the 
Salon  in  1873,  and  ' Spring-time  in  Brabant'  at  the 
International  Exhibition  at  Kensington  in  1874. 
He  died  at  Brussels  in  1874. 

BOQLLONGNE,  Bon  de,  (or  Boulogne,)  the 
elder  son  of  Louis  de  BouUongne,  was  born  in 
Paris  in  1649.  He  was  instructed  by  his  father, 
and  having  painted  a  picture  of  '  St.  John,'  which 
was  shown  to  Colbert,  he  was  sent  to  Rome  for 
improvement,  under  the  pension  of  the  king,  sind 
there  he  remained  five  years.  He  afterwards 
visited  Lombard3',  and  passed  some  time  studying 
the  works  of  Correggio  and  the  Carracci.  On  his 
return  to  Paris  he  was  a  candidate  for  a  seat  in 
the  Academy,  which  he  obtained  in  1677,  and 
painted  for  his  picture  of  reception  '  Hercules 
combating  the  Centaurs '  (now  in  the  Louvre). 
He  was  made  professor  in  1692.  Louis  XIV.  took 
him  into  favour,  and  employed  him  to  paint  the 
staircase  at  Versailles,  under  the  direction  of 
Charles  le  Brun.  In  1702  he  painted  in  fresco  the 
cupola  of  the  chapel  of  St.  Jerome,  in  the  church 
of  the  InvaUdes.  One  of  his  best  works  is  '  The 
Resurrection  of  Lazarus,'  in  the  church  of  the 
Carthusians.  At  Versailles  he  painted  '  Venus  and 
Cupid,'  and  '  Bacchus  and  Silenus ; '  and  in  the 
Trianon,  in  1710, '  Juno  and  Flora,'  and  '  The  Toilet 
of  Venus,'  both  now  in  the  Louvre.  In  addition  tc 
these  and  the  '  Hercules,'  the  Louvre  possesses  an 
'  Annunciation,'  •  St.  Benedict  restoring  a  Child  to 
life,'  and  a  '  Marriage  of  St.  Catharine,'  by  him. 
'  The  Calling  of  the  Sons  of  Zebedee,'  by  him,  is  in 
the  Dublin  Gallery.  He  possessed  a  particular 
talent  for  painting  what  the  Italians  call  '  pastici,' 
or  imitation  of  the  style  of  other  masters,  without 
the  servility  of  copies.  He  died  in  Paris  in  1717. 
We  have  a  few  etcliings  by  this  painter: 


PAINTERS  AND  ENGRAVERS. 


The  Holy  Family. 

St.  John  preaching  in  the  Wilderness. 

St.  Bruno. 

Frontispiece  for  an  Almanack ;  dated  1694 

A  satirical  print  against  the  Author  of  the  '  Mercure 

Galant;'  inscribed,  ^4 A  ha,  galant,  vous  raisonnez  en 

ignorant. 

BOULLONGNE,  Louis  de,  '  the  elder,'  (or  Bon- 
LOONB,)  a  French  painter,  was  born  in  Paris  in 
1609,  and  was  a  pupil  of  Blanchard.  He  visited 
Rome,  and  studied  the  works  of  Titian,  Guido 
Reni,  and  other  great  artists ;  and  on  his  return 
to  Paris  became  professor  of  the  Academy,  and 
painter  to  the  king.  His  principal  works  are  in 
the  church  of  Notre-Dame  at  Paris,  where  he  has 
painted  'The  Miracle  of  St.  Paul  at  Ephesus,' 
'The  Martyrdom  of  St.  Simon,'  'The  Beheading 
of  St.  Paul,'  and  '  The  Presentation  in  the  Temple.' 
He  painted  many  pictures  for  churches,  and  made 
good  copies  of  several  of  the  masterpieces  which 
the  celebrated  banker  Jabach  had  purchased  from 
the  collection  of  Charles  I. — amongst  others,  '  The 
Labours  of  Hercules,'  after  Guido  ;  the  '  Marquis 
del  Guasto,'  and  '  The  Disciples  at  Emmaus,'  after 
,  Titian  ;  and  a  '  Nativity  '  after  Carracci.  He  died 
in  Paris  in  1674.  He  etched  thirty-nine  plates, 
among  which  may  be  mentioned  : 

Le  Livre  de  Portraiture  (twenty-six  plates). 

A  Holy  Family,  with  the  Bird. 

The  same  subject,  at  the  foot  of  a  Column. 

The  Miracle  of  St.  Paul  at  Ephesus. 

The  Beheading  of  St.  Paul. 

The  Rape  of  Helen  ;  after  Guido. 

His  two  daughters,  Genevieve  and  Madelaine, 
were  also  painters,  and  were  received  into  the 
Academy  in  1669.  The  former,  who  married  Jacques 
Clarion,  the  sculptor,  died  at  Ais  in  1708,  aged  63, 
and  the  latter  in  Paris  in  1710,  aged  64. 

BOULLONGNE,  Louis  de,  'the  younger,'  (or 
Boulogne,)  who  was  born  in  Paris  in  1654,  was 
the  younger  son  of  Louis  de  Boullongne  the  elder, 
and  received  instruction  from  his  father.  He 
was  one  of  the  most  assiduous  students  of  the 
Academy,  and  gained  the  prize  for  painting  when 
he  was  eighteen,  and  was  consequently  sent  to 
Rome,  under  the  pension  of  the  king,  in  1675.  He 
there  copied  for  the  Gobelins  manufactory,  in 
their  original  size,  '  The  School  of  Athens,'  and 
the  '  Disputa  '  of  Raphael.  He  returned,  through 
Lombardy  and  Venice,  to  Paris  in  1680,  and  the 
following  year  he  was  received  into  the  Academy  ; 
his  reception  picture  was  '  Augustus  ordering  the 
Temple  of  Janus  to  be  shut'  In  1693  he  was  made 
professor,  in  1717  rector,  and  in  1722  director;  in 
this  same  year  he  received  the  Order  of  St.  Michael, 
and  was  ennobled  in  1724.  Having  in  1725 
been  appointed  painter  to  Louis  XIV.,  he  was 
employed  at  Fontainebleau,  and  in  the  chSteau  of 
Meudon.  In  the  church  of  Notre-Dame,  at  Paris, 
he  executed  two  fine  pictures,  'The  Purification,' 
and  '  The  Flight  into  Egypt.'  The  works  of  this 
painter  show  that  he  had  profited  more  by  his 
residence  at  Rome  than  has  been  usual  with  the 
artists  of  his  nation.  There  is  a  fine  character  in 
his  heads,  his  drawing  is  correct,  and  his  colour 
is  more  vigorous  than  is  generally  found  in  the 
artists  of  the  French  school.  He  died  in  Paris  in 
1733.  He  exhibited  at  the  Salon  from  1699  to 
1704.     We  have  the  following  etchings  by  him : 

The  Holy  Family,  the  Infant  Jesus  holding  a  Bird  by 

a  String. 
The  Holy  Family,  with  St.  John. 
The  Dead  Ohrist,  with  the  Marys  and  Disciples. 


The  Martyrdom  of  St.  Peter. 

The  Martyrdom  of  St.  Paul. 

The  Flagellation  of  St.  Andrew ;  after  Paolo  Veronese 

St.  Bruno. 

The  Roman  Charity. 

BOULONOIS,  EsMB  de,  an  engraver,  from  his 
name  was  apparently  a  Frenchman.  He  was  a 
print-seller,  and  lived  about  the  middle  of  the  16th 
century.  The  prints  we  have  by  him  are  princi- 
pally portraits,  and  are  entirely  worked  with  the 
graver,  in  a  neat  but  stifE  style.  Among  others, 
we  have  the  following  portraits : 

Christopher  Plantin. 

George  Buchanan. 

Lady  Jane  Grey. 

Hans  Holbein,  painter. 

Anthony  More,  painter. 

BOUMAN,  PiETER,  a  landscape  painter,  born 
at  Dordrecht  about  1765,  painted  views  in  the 
neighbourhood  of  Haarlem,  waterfalls,  winter 
scenes,  and  similar  subjects,  so  prevalent  with  the 
modem  Dutch  artists.  His  works  were  deservedly 
held  in  estimation 

BOUNIBU,  Michel  Honors,  a  French  painter 
of  historical  and  genre  subjects,  and  engraver  in 
mezzotint,  was  born  at  Marseilles  in  1740.  He 
was  a  pupil  of  Pierre,  and  became  a  member  of 
the  Academy  at  Paris  in  1767.  He  was  keeper  of 
the  prints  at  the  Bibliotheque  Nationale  from  1792 
to  1794,  and  for  the  next  twenty  years  professor 
of  drawing  at  the  Ecole  des  Ponts-et-Chauss^es. 
He  exhibited  many  pictures  at  the  Salon,  and  at 
his  own  studio  those  of  '  Adam  and  Eve  after  their 
expulsion  from  Paradise,'  and  '  Bathsheba,'  the 
former  of  which  he  himself  engraved.  The  Bor- 
deaux Museum  has  a  '  Head  of  a  Woman,'  and 
'  Baigneuses  '  by  film.  ,  He  died  in  Paris  in  1814, 
leaving  a  daughter,  Emilie  Bounieu,  afterwards 
Madame  Raveau,  who  inherited  her  father's  talent, 
and  exhibited  historical  subjects  and  portraits  from 
1800  to  1819. 

Bounieu  engraved  about  fifteen  subjects  from 
his  own  designs,  among  which  are  the  following : 

Adam  and  Eve  after  their  expulsion  from  Paradise. 

The  Magdalen. 

Love  led  by  Folly. 

The  Punishmeut  of  a  Vestal. 

The  Birth  of  Henry  IV. ;  an  allegory. 

The  Deluge. 

The  Odalisque. 

BOUQUET,  Emile,  a  French  historical,  genre, 
and  landscape  painter,  was  born  in  1819  at  Lyons, 
and  studied  under  Bonnefond.  He  sometimes 
worked  in  pastel.     He  died  at  Marseilles  in  1876. 

BOURDON,  Pierre,  was  a  French  engraver, 
who  resided  in  Paris  about  the  year  1703.  He 
engraved  a  set  of  plates  from  his  own  designs, 
representing  ornaments  with  figures  for  goldsmiths 
and  jewellers.  They  are  very  neatly  executed,  and 
are  inscribed  Petrus  Bourdon  inv.  et  fecit. 

BOURDON.  Pierre  Michel,  a  French  historical 
and  portrait  painter  and  engraver,  was  born  in  Paris 
in  1'778.  He  was  a  pupil  of  Regnault,  and  painted 
fur  the  town  of  Pau  a  '  Crucifixion,'  which  has 
been  spoken  of  with  praise.  He  engraved  a  series 
of  plates  entitled  '  Conoours  decennal,'  as  well  as 
some  for  the  '  Mus^e  Filhol,'  of  which  he  was 
director.     He  died  in  Paris  in  1841. 

BOURDON,  SiBASTlEN,  an  eminent  French 
painter  and  engraver,  born  at  Montpellier  on  the 
2nd  of  February,  1616,  was  the  son  of  a  painter 
upon  glass,  from  whom  he  received  his  earliest 
instruction  in  the  rudiments  of  art.     At  the  age  of 

181 


A  BIOGRAPHICAL  DICTIOXARY  OF 


seven  he  was  taken  by  an  uncle  to  Paris,  and  there 
placed  under  the  tuition  of  Jean  Barthelemy,  with 
whom  he  remained  until  he  was  fourteen  years  of 
age,  when  he  returned  to  the  south,  and  painted  in 
fresco  a  ceiling  in  a  chSteau  near  Bordeaux.  He 
then  went  to  Toulouse,  but  met  with  so  little  encour- 
agement that  he  resolved  to  enlist.  His  military 
duties,  however,  proved  so  irksome  to  him  that 
his  commanding  ofScer,  who  recognized  his  talent, 
gave  him  some  hours'  leave  each  day  until  his 
friends  procured  his  discharge.  Being  then  eighteen 
years  of  age  he  went  to  Rome,  where  he  was  forced 
to  make  copies  of  the  works  of  Claude  Lorrain, 
Andrea  Sacchi,  Bamboccio,  and  other  artists  then 
in  vogue,  in  order  to  gain  a  livelihood  ;  but  after  a 
stay  of  three  years,  being  a  Protestant,  he  thought 
it  expedient  to  quit  Rome  on  account  of  the 
jealousy  of  an  obscure  painter  named  De  Rieux, 
who  threatened  to  denounce  him  as  a  heretic  to  the 
Holy  Inquisition.  On  his  way  home  he  visited 
Venice,  and  soon  after  reaching  Paris  married 
Susanne  Du  Guernier,  the  sister  of  the  miniature- 
painters  of  that  name.  There  a  brilliant  success 
awaited  him,  for  in  1643  he  was  selected  to  paint 
the  "niai"  offered  annually  to  the  cathedral  of 
Notre-Dame  by  the  Goldsmiths'  Guild.  The  sub- 
ject chosen  was  the  '  Martyrdom  of  St.  Peter,  and 
the  picture,  now  in  the  Lou\Te,  at  once  established 
for  him  a  reputation  which  has  been  preserved 
almost  intact  to  the  present  day.  He  was  one  of 
the  twelve  artists  who,  in  1648,  founded  the 
Academy  of  Painting  and  Sculpture,  and  was  one 
of  its  rectors  from  1655  until  his  death.  In  1652 
the  troubles  of  the  Fronde  drove  him  to  Sweden, 
where  he  became  first  painter  to  Queen  Christina, 
whose  portrait,  painted  by  him  and  engraved  by 
Nanteuil  and  Michel  Lasne,  remains  the  historic  por- 
trait of  the  famous  sovereign.  Upon  the  conversion 
of  the  Queen  to  the  Roman  Catholic  faith,  and  her 
consequent  abdication  in  1654,  Bourdon  returned  to 
Paris,  and,  among  other  works,  painted  for  the  church 
of  St.  Benedict  the  '  Descent  from  the  Cross,'  now 
in  the  Louvre,  which  was  much  admired.  Family 
affairs  calling  him  to  Montpellier,  he  there  painted, 
in  1659,  for  the  cathedral  church  of  St.  Peter,  an 
immense  picture  of  the  '  Fall  of  Simon  Magus,' 
which  was  severely  criticised  by  a  local  painter 
named  Samuel  Boissiere.  An  affray  ensued,  and 
matters  threatened  to  become  serious,  when  Bourdon 
prudently  left  Montpellier.  After  his  return  to 
Paris  he,  in  1663,  painted,  with  the  fable  of  Phoebus 
and  Phaeton,  the  nine  compartments  of  the  ceiling 
of  the  fine  gallery  of  the  Hotel  de  Bretonvilliers  in 
the  He  St.  Louis,  a  mansion  which  has  now  entirely 
disappeared.  This  was  Bourdon's  most  important 
work,  and  it  is  fortunate  for  his  renown  that  the 
decorations  of  the  Hotel  de  Bretonvilliers  have  been 
handed  down  by  the  engravings  of  Friquet  de 
Vaurose,  one  of  his  favourite  pupils.  His  last  work 
was  a  ceiling  in  the  Tuileries,  representing  the 
'  Deification  of  Hercules.'  Bourdon  died  a  Calvinist 
in  Paris  on  the  8th  of  May,  1671.  He  was  endowed 
with  wonderful  fertility  of  imagination  and  facility 
of  execution,  but  the  quality  of  his  work  was  very 
unequal,  and  his  drawing  often  incorrect.  He 
painted  historical  and  genre  subjects,  portraits  and 
landscapes,  the  last  somewhat  resembling  those  of 
Salvator  Rosa.  He  has  enjoj-ed  a  great  reputation 
as  a  colourist,  notwithstanding  the  somewhat  vulgar 
preponderance  in  his  pictures  of  reds  and  browns. 
The  Louvre  possesses  drawings  by  him  which  are 
perhaps  of  even  greater  value  than  his  paintings. 
182 


They  are  29  in  number,  and  include  tLe  studies  for 
the  '  Martyrdom  of  St.  Peter '  and  the  '  Descent 
from  the  Cross,'  as  well  as  the  so-called  portrait  of 
himself,  which  he  introduced  into  his  picture  of  the 
'  Fall  of  Simon  Magus.'  The  engravings  of  Bour- 
don, especially  his  '  Acts  of  Mercy,'  are  very  fine, 
and  wiU  always  bear  witness  to  his  great  talent  in 
etching,  and  his  skill  in  the  use  of  the  graver. 
Robert-Dumesnil,  in  his  '  Peintre-Graveur  Fran- 
^ais,'  describes  44  plates,  all  of  which  are  from 
his  own  designs.  The  following  are  the  principal 
subjects  : 

The  Acts  of  Mercy ;  seven  plates. 

The  Betum  of  Jacob. 

Joseph's  Dream. 

The  AngeUc  Saintation. 

The  Visitation. 

The  Annunciation  to  the  Shepherds. 

The  Fhght  into  Egypt ;  four  different  plates. 

The  Holy  Family  vrith  the  'Washerwomaa. 

La  Vierge  a  I'ecuelle. 

La  Vierge  au  rideau. 

The  Eepose  in  Egypt. 

The  Return  from  Egypt. 

Landscapes ;  twelve  subjects. 

The  following  are  the  most  important  of  Bour- 
don's works  which  are  preserved  in  the  public 
galleries  of  Europe  : 

Amsterdam.  Museum.    The  Marriage  of  St.  Catharine. 
Bayeux.  Museum.     Qneen  Christina  of  Sweden. 

Cassel.  Gallery.      Soldier    and    Peasants    playing 

Cards. 
B  „  An  Old  Man  awakening  a  Com- 

rade. 
Copenhagen.  Galltry.    Laban  carrying  away  his  Idols. 
Florence.        Vffizi.         The  Eepose  in  Egypt. 
Grenoble.       Museum.     The  Continence  of  Scipio. 
Hague.  Museum.     The  Four  Quarters  of  the  TVorld. 

Lille.  Museum.     The  Sarionr  supported  by  Angels. 

Liverpool.   Soyal  lust.  A  BacchanaUan  Scene. 
London.      Nat.  Gall.     The  Return   of   the    Ark   from 

Captivity. 
Madrid.  Museo  del  St.   Paul  and    St.   Barnabas    at 

Fardo.  Lystra. 

MontpelMer.  Cathedral.  The  Fall  of  Simon  Magus. 

„  Musee  Fabre.  The  Descent  from  the  Cross. 

„  „  The  Discovery  of  the  Body   of 

St.  Theresa. 

„  „  A  Halt  of  Gipsies. 

„  „  A  Landscape ;  very  large. 

„  „  A  Landscape  with  a  River. 

„  „  Portrait  of  a  Spaniard. 

„  „  Portrait  of  a  General. 

Munich.  Gallery.      View  in  the  Environs  of  Rome. 

Naples.  Gallery.     Portrait  of  a  Farnese  Princess. 

Paris.  Lourre.      The  Martyrdom  of  St.  Peter. 

„  „  The  Descent  from  the  Cross. 

„  „  Laban  seeking  his  Idols. 

„  „  The  Sacrifice  of  Noah. 

„  „  Solomon  sacrificing  to  Idols. 

„  „  The  Virgm  and  Child,  with  St. 

John. 

„  „  The  Adoration  of  the  Shepherds. 

„  .,  The  Eepose  in  Egypt. 

„  The  Presentation  in  the  Temple. 

„  Christ  blessing  Uttle  Children. 

",  „  The  Beheading  of  St.  Protais. 

,,  „  Julius    Caesar    at   the   Tomb  of 

Alexander. 

„  „  A  Halt  of  Gipaes ;  t«o  pictans. 

„  ,,  The  Beggars. 

.,  „  Portrait  of  Himself. 

;,  ,.  Portrait  of  Himself;    the  head 

only  by  Bourdon,  the  remainder 
by  Eigaud. 
,,  Portrait  of  Ren^  Descartes. 

„  „  Portrait,  supposed  to  be  that  of 

Michel  de  Chamillart,  Marqtus 
de  Cany. 

..  {^Tat^Coll.}^^'^""^- 


PAINTERS  AND  ENGRAVERS. 


Tetersburg.  Hermitage.  The  Massacre  of  the  Innocents. 
»  »  The  Holy  Family ;  within  a  gar- 

land of  flowers  by  Jean  Bap- 
tiste  Monnoyer. 
„  „  The  Death  of  Dido. 

n  it  ^  Landscape. 

Toulouse.       Museum.     The  Martyrdom  of  St.  Andrew. 
Turin.  Gallery.     The  Massacre  of  the  Innocents. 

Versailles.      Palace.       Portrait  of  Himself. 

„  ,1  Portrait    of    his    Father,    Marin 

Bourdon.  R.  E.  G. 

BOURGEOIS,  Florent  Fiddle  Constant,  a 
French  landscape  painter,  engraver,  and  litho- 
grapher, was  born  in  Paris  in  1767.  He  studied 
under  David,  but  spent  much  of  his  time  in  Italy. 
Landon  mentions  him  as  an  artist  distinguished 
for  the  richness  of  his  compositions  and  the  purity 
of  his  style,  and  describes  three  of  his  pictures  as 
being  in  the  manner  of  Gaspard  Poussin.  His 
death  did  not  take  place  earlier  than  1836. 

BOURGEOIS,  Sir  Peter  Francis,  was  descended 
from  a  family  of  some  importance  in  Switzerland. 
His  father  went  to  reside  in  London,  where  Francis 
was  bom  in  1756.  His  early  destination  was  for 
the  army,  and  Lord  Heathfield  offered  to  procure 
him  a  commission;  but  he  liad  received  instruction 
in  the  rudiments  of  art  from  a  painter  of  horses, 
and  though  he  was  a  constant  attendant  at  military 
evolutions  and  reviews,  it  was  rather  for  the 
purpose  of  representing  the  manoeuvres  with  his 
pencil  than  of  acquiring  a  knowledge  of  military 
tactics.  Some  of  his  juvenile  attempts  ha^^ng 
been  shown  to  Reynolds  and  Gainsborough,  those 
distinguished  artists  encouraged  him  to  persevere 
in  the  cultivation  of  art.  He  was  accordingly 
placed  under  the  instruction  of  Loutherbourg  for 
a  sufScient  time  to  acquire  a  correct  knowledge  of 
the  true  principles  of  painting,  after  which  he 
resolved  to  prosecute  his  studies  in  the  great  school 
of  nature,  and  in  contemplating  the  works  of  the 
most  eminent  masters.  He  had  scarcely  reached 
the  nineteenth  year  of  his  age  when  he  had  acquired 
considerable  reputation  as  a  painter  of  landscapes, 
battles,  and  sea-pieces,  which  were  considered  as 
uncommon  productions  for  so  young  an  artist,  and 
as  certain  indications  of  future  excellence.  In 
1776  Bourgeois  set  out  on  a  tour  through  the 
Netherlands,  France,  and  Italy,  and  studied  with 
indefatigable  assiduity  the  works  of  the  most  cele- 
brated masters  of  the  different  schools.  When  he 
returned  from  the  Continent,  he  continued  the 
exercise  of  his  talents  with  increased  ardour  and 
reputation,  and  his  exhibitions  in  the  Royal 
Academy  added  considerably  to  the  number  of  his 
admirers. 

When  the  Prince  Primate,  brother  to  the  unfor- 
tunate Stanislaus  Augustus,  King  of  Poland,  visited 
this  country,  he  was  particularly  pleased  with  the 
works  of  Bourgeois,  and  made  him  the  most 
flattering  offers  to  induce  him  to  return  with  him 
to  Poland,  which  were  gratefully  acknowledged, 
though  they  were  politely  declined.  In  1791,  how- 
ever,hewa8  appointed  painterto  the  Kinguf  Poland, 
who  also  conferred  on  him  the  honour  of  a  Knight 
of  the  Order  of  Merit,  on  which  occasion  he  was 
introduced  at  our  Court,  and  the  King  was  pleased 
to  confirm  the  title.  Sir  Francis  was  elected  an 
Associate  in  1787,  and  a  Royal  Academician  in 
1793,  and  in  1794  was  appointed  landscape  painter 
to  George  III. 

Sir  Francis  Bourgeois  was  the  intimate  friend 
of  Desenfans,  a  celebrated  picture-dealer,  and  de- 
voted a  great  part  of  liis  time  to  assisting  that 


gentleman  with  his  judgment  in  the  formation  of 
an  extensive  collection  of  pictures  (many  of  which 
were  originally  intended  for  the  National  Gallery 
at  Warsaw),  which,  with  a  considerable  property, 
were  left  to  him  at  the  death  of  Desenfans  in  1804. 
He  did  not  survive  the  liberality  of  his  friend 
many  years.  The  valuable  assemblage  of  paint- 
ings which  he  inherited,  containing  good  examples 
of  Rembrandt,  Cuyp,  Wouwerman,  Murillo,  Poussin, 
and  other  masters,  he  bequeathed  to  Dulwich  Col- 
lege, together  with  £2000  to  build  a  gallery  to 
receive  them,  and  £10,000  to  provide  for  its  main- 
tenance. Sir  Francis  died  in  consequence  of  a  fall 
from  his  horse  in  1811,  and  was  buried  in  the 
chapel  of  Dulwich  College.  The  number  of  his 
pictures  is  considerable,  and  they  were  greatly 
esteemed  in  his  lifetime.  There  are  eighteen  of 
them  in  the  gallery  of  Dulwich  College,  among 
which  are : 

Landscape  and  Cattle. 

A  Friar  kneeling  before  a  Cross. 

View  on  the  Sea-shore. 

Landscape,  with  Cattle  and  Figures. 

Religion  in  the  Desert. 

Tobit  and  the  Angel. 

Portrait  of  Sir  Peter  Francis  Bourgeois. 

BOURGUIGNON,  Le.  SeeCouRTOis.GuiLLAtraE, 
and  Jacques  ;  also  Perrier,  Franqois. 

BOURGUIGNON-GRAVELOT,  Hubert  Fran- 
cois, who  was  born  in  Paris  in  1699,  and  died  there 
in  1773,  executed  drawings  for  subjects  of  bijou- 
terie as  well  as  designs  for  illustrations  of  Racine, 
Voltaire,  and  Marmontel. 

BOURNE,  James,  a  water-colour  landscape 
painter,  worked  in  London  in  the  early  part  of  the 
nineteenth  century.  He  exhibited  at  the  Royal 
Academy  as  late  as  1809,  but  was  living  some  time 
afterwards.  Four  views  by  him  are  in  the  South 
Kensington  Museum. 

BOURSSE,  Esaias,  a  Dutch  painter  of  domestic 
interiors,  was  horn  at  Amsterdam  about  1630.  He 
was  working  in  his  native  city  from  about  1656  to 
1672.  He  visited  Italy,  and  made  several  voyages 
to  the  East  Indies  in  the  service  of  the  Dutch  East 
India  Company.  His  works  are  rare,  and  but  little 
known.  Tlie  Rijks  Museum  at  Amsterdam  has  an 
'Interior  with  a  Woman  spinning';  the  Suermondt 
Museum  at  Aix-la-Cliapelle  has  an  example ;  and 
Sir  Richard  Wallace  an  'Interior,  with  a  Woman 
sitting  by  a  Child  in  a  Cradle.' 

BOUSONNET.     See  Bouzonnet. 

BOUT,  Pieter,  who  was  born  at  Brussels  in 
1658,  painted  chiefly  in  conjunction  with  Boude- 
wyns  (see  notice  of  that  painter),  whose  land- 
scapes he  ornamented  with  figures,  representing 
assemblies,  merry-makings,  and  such  like  subjects. 
He  did  a  like  service  for  Van  Artois,  as  for  instance 
in  a  picture  of  '  Winter '  in  the  Brussels  Gallery, 
and  a  Landscape  in  the  La  Caze  Collection  in  the 
Louvre.  He  occasionally  painted  pictures  entirely 
his  own  composition.  His  death  took  place  at 
Brussels  not  earlier  than  1731.  He  has  etched 
a  few  plates  in  a  slight  painter-like  manner,  as 
follow : 

Four  'Winter  Scenes,  with  Skaters,  and  a  variety  of 
figures. 

Two,  a  Landscape,  with  a  Statue  of  Neptune,  and  a 
View  of  the  Sea-strand  in  Winter,  with  a  Fish- 
market. 

Two,  the  Bride  conducted  to  Church,  and  a  Country 
Market 

BOUTELOUP,  Guillaume,  a  French  painter, 
flourished    at   Blois   in  the   middle    of    the    16tli 

183 


A  BIOGRAPHICAL  DICTIONARY  OF 


century.  He  •was  employed  by  the  Kings  Henry 
II.,  Francis  II.,  and  Charles  IX.,  and  as  early  as 
1558  held  the  office  of  painter  in  ordinary  to  the 
king.  In  1560  he  painted  the  portrait  of  Thony, 
the  favourite  fool  of  Francis  II.,  and  in  1572  his 
name  appears  for  the  last  time  in  the  accounts  of 
the  royal  household. 

BOUTELODP,  Loms  Alexandre,  a  French  line- 
engraver  who  also  worked  in  mezzotint,  was  bom 
in  Paris  in  1761.  Among  other  works  he  engraved 
the  portraits  of  Caroline  of  Austria,  Queen  of 
Naples,  after  a  drawing  by  himself,  and  of  Car- 
dinal de  Richelieu,  from  a  terra-cotta  bust  by  De- 
seine.     The  date  of  his  death  is  not  recorded. 

BOUTERWECK,  Fbiedrich,  (or  Buterweck,) 
was  born  at  Tamowitz,  in  Silesia,  about  the  year 
1800.  He  was  trained  in  the  school  of  Kolbe  at 
Berlin,  and  afterwards  pursued  his  studies  under 
Delaroche  in  Paris,  where  he  three  times  carried 
off  the  gold  medal.  In  1834  he  made  a  tour  in 
Italy,  and  later  in  Spain,  Scotland,  and  the  East 
After  a  while  he  removed  from  Berlin  to  Paris, 
where  he  lived  for  twenty-five  years.  In  the 
course  of  his  life  he  obtained  twenty-three  medals 
and  numerous  orders.  He  died  in  Paris  in  1867. 
The  following  are  among  his  best  works  : 

Orestes  pursued  by  the  Furies.    1833. 

Romeo  taking  leave  of  Juliet.     1S36. 

Isaac  and  Eebekah.     1S40. 

Episode  from  Gamacho's  "Wedding. 

Jacob  and  Eacbel.     1S44. 

Baptism  of  the  Ethiopian  Eunuch.    1848. 

BOUTON,  Charles  Mabie,  who  was  bom  in  Paris 
in  1781,  was  a  pupil  of  David.  He  was  jointly  with 
Daguerre  the  inventor  of  the  Diorama.  He  was 
highly  successful  in  representations  of  perspective 
and  atmospheric  effects,  and  in  the  distribution  of 
light,  and  was  therefore  to  be  looked  upon  rather 
as  a  painter  of  decorations  than  of  pictures  in  the 
ordinary  sense.  Amongst  his  productions  of  the 
latter  class,  there  were  some  specimens  in  the 
Luxembourg,  and  in  some  of  the  royal  palaces. 
In  1810  Bouton  obtained  a  gold  medal ;  and  in 
1819  the  great  gold  medal  for  his  picture  of  '  St. 
Louis  at  the  Tomb  of  his  Mother,'  a  medal  equiva- 
lent to  the  great  prize,  which  Horace  Vemet  only 
carried  off  against  him  by  one  vote.  He  died  in 
Paris  in  1853. 

BOCTS,  Albert,  the  son  of  Dirk  Bouts,  was 
a  Brabant  painter,  who  died  at  an  advanced  age 
in  1549.  He  is  mentioned  by  Molanus  in  his 
manuscript  'History  of  Louvain  '  as  having  painted 
an  '  Assumption  of  the  Virgin '  in  the  church  of 
St  Peter,  at  Louvain.  The  picture  is  not  now  to 
be  found. 

BOUTS,  Dirk,  Theodoricus,  Latin,  Thierry, 
French,  called  also  by  error  Stuerbout,  and  by 
some  writers  Thierry  de  Haarlem,  was  the  son 
of  a  landscape  painter  of  Haarlem  of  the  same 
name  as  his  son.  He  settled  in  Louvain  before 
1448,  and  was  employed  on  various  important 
works  for  the  m'micipality.  In  1468  he  is  men- 
tioned in  the  town  records  as  portrahierdere 
or  municipal  painter  ex  officio,  bis  dues  being 
merely  "90  pltcken  for  a  coat."  About  the  same 
date  he  finished  two  large  pictures  which  he  had 
been  commissioned  to  paint  for  the  Council 
Chamber  in  the  Hotel  de  Ville  at  Louvain.  These 
paintings,  now  in  the  Brussels  Gallery,  illustrate 
a  legend  in  the  chronicle  of  Godfrey  of  Viterbo, 
which  sets  forth  the  virtue  of  justice  as  exemplified 
in  a  judgment  of  the  Emperor  Otho  III.     They 

184 


are  striking  and  powerful  works  with  life-size 
figures,  painted  perhaps  with  more  attention  to 
detail  of  costume  than  to  grace  of  form,  but  forcible 
in  colour  and  thorough  in  execution.  In  these 
latter  qualities  indeed  they  strongly  resemble 
Roger  De  La  Pasture  of  Toumai,  better  known  by 
the  Flemish  equivalent  Van  der  Weyden.  For 
his  paintings  in  the  Council  Chamber  Bouts  re- 
ceived the  sum  of  230  crowns,  and  was  also 
commissioned  in  May  1468  to  paint  a  large 
painting  of  the  '  Last  Judgment,'  finished  by  him 
in  1472.  Another  large  picture  was  undertaken 
by  him  about  the  same  time,  but  he  did  not  live 
to  finish  it,  his  heirs  being  paid  after  his  death 
for  what  he  had  done  on  it  according  to  a  valu- 
ation made  by  Hugo  Van  der  Goes.  Other  works 
of  this  painter  are : 

A  Triptvch  of  the  Martvrdom  of  St.  Erasmus,  in  the 
Church  of  St.  Peter  at 'Louvain.     About  1463. 

A  large  and  fine  Triptych  of  the  Last  Supper,  in  the 
same  church,  the  shutters  of  which,  representing 
Abraham  and  Melehi2edech,  and  the  Gathering  of 
the  Manna,  are  at  Munich,  and  the  wings,  which 
depict  the  Eating  of  the  Passover,  and  the  Angel 
bringing  the  food  to  Elias,  at  Berlin. 

This  work  occupied  the  painter  three  years  and  ten 
months,  and  he  was  paid  for  it  the  sum  of  200 
Khenish  florins. 

There  are  a  few  other  works  by  him  in  foreign 
galleries,  and  many  which  are  now  proved  to  be 
by  him  were  for  a  long  time  attributed  to 
Memlinc.  Bouts  was  born  in  1400,  and  he  died 
on  May  6,  1475.  By  liis  will,  which  was  made 
on  April  17,  1475,  he  divided  his  estate  between 
his  two  sons,  his  two  daughters,  who  were  nuns 
in  the  Convent  of  Dommelen,  and  Elizabeth  van 
Vosshem  his  second  wife,  widow  of  John  van 
Thienan,  burgomaster  of  Louvain.  A  family  of 
painters  of  the  name  of  Stuerbout  appears  to  have 
settled  in  Louvain  in  the  early  part  of  the  15th 
century.  Hubert  Stuerbout  the  painter  and  his 
sons  Hubert,  Gieles,  and  Frissen,  are  mentioned 
in  several  records  of  jaj-ments  made  between 
1439  and  1467,  but  it  does  not  appear  that  this 
Hubert  was  any  relation  to  Dirk  Bouts.  See 
Crowe  and  Cavalcaselle,  'Early  Flemish  Painters,' 
2nd  edit.  1872;  Molanus,'  Historiae  Lovaniensium,' 
a  work  in  manuscript,  and  'Journal  des  Beaux 
Arts,'  1867,  pp.  Ill  and  112;  also  Ed.  van  Even, 
'  L'ancienne  dcole  des  peintres  de  Louvain,'  1870. 

W.  H.  J.  W. 

BOUTS,  Dirk,  a  landscape  pamter,  mentioned 
in  the  manuscript  of  Molanus,  '  HistoriiB  Lovani- 
ensium,' as  ha\-ing  been  the  father  of  two  sons. 
Dirk  and  Albert  Bouts,  and  as  having  died  early 
in  the  loth  century. 

BOUTS,  Hubert,  called  a  painter  of  Louvain. 
This  is  Hubert  Stuerbout  who  is  mentioned  in  the 
preceding  article. 

BOUTTATS,  PiETEB  Balthazar,  a  Flemish 
engraver,  was  bom  at  Antwerp  in  1666,  and  be- 
came dean  of  the  Guild  of  St.  Luke.  He  died  in 
1731. 

BOUTTATS,  Fredebik.  an  engraver,  was  bom  at 
Antwerp  about  the  year  1620.  He  engraved  several 
plates  aJEter  his  own  designs,  principally  portraits, 
and  some  after  other  masters.  They  are  worked 
with  the  graver,  in  a  neat  style,  and  are  not  with- 
out merit.  We  have  by  him,  among  others,  tlie 
following : 

Charles  Emmanuel,  Duke  of  Savoy. 
Ciharles  Gaspar,  Elector  of  Treves. 


THIERRY  BOUTS 


Hanfitdngl  photo] 


[^Munich 


ST.  CHRISTOPHER 


PAINTERS  AND  ENGRAVERS. 


Queen  Christina  of  Sweden. 

Oliver  Cromwell. 

Frederick  William,  Elector  of  Brandenburg. 

John  George,  Elector  of  Saxony. 

Jan  Baptist  Heil,  portrait  painter ;  se  ipse  pinx. 

Daniel  van    Heil,  landscape  painter ;    J,  B,  van  Heil 

pinx. 
Leo  van  Heil,  architect  and  painter  ;  same  painter, 
David  Rijckaert,  painter ;  se  ipse  pinx. 
The  Virgin  and  Infant  Jesus,  with  St.   John    {dated 

1655). 
Cavaliers  and  Ladies  playing  at  Cards ;  F.  Boutats  fecit. 

BODTTATS,  Gaspar,  the  younger  brother  of 
Frederik  Bouttats,  was  born  at  Antwerp  about  the 
year  1625,  and  died  there  in  1703.  He  engraved 
chiefly  for  the  booksellers,  and  some  few  plates 
after  different  masters.  They  are  principally  etched, 
and  some  finished  with  the  graver.  The  following 
are  by  him : 
Frontispiece  for  the  Psalms  of  St.  Augustine ;  Gaspar 

Boutats  fee. 
The  Massacre  of  St.  Bartholomew. 
The  Assassination  of  Henry  W. 
The  Decollation  of  Count  Nadasti,  Count  Oorini,  and 

Marquis  Fraucipani. 
A  Sutler's  Tent ;  after  Ph.  IVouwerman. 

He  also  etched  the  plates  for  a  folio  volume  of 
'  Views  of  Jerusalem,  and  the  surrounding  Country ;' 
after  the  designs  of  Johannes  Peters. 

BOUTTATS,  Gerard,  the  youngest  brother  of 
Frederik  Bouttats,  was  born  at  Antwerp  about  the 
year  1630.  He  settled  at  Vienna,  where  he  was 
appointed  engraver  to  the  University.  His  prints 
are  chiefly  portraits ;  the  following  are  the 
principal : 

Adamus  Munds,  Physician.     1657. 
Antonius  d'Aumout. 
Charles  Joseph,  Archduke  of  Austria. 
Don  Pedro,  King  of  Portugal. 
The  Resurrection. 

BOUTTATS,  Philibert,  a  Flemish  engraver, 
the  son  of  Frederik  Bouttats,  was  born  at  Antwerp 
about  the  year  1650,  and  died  at  the  age  of  72. 
His  prints  consist  chiefly  of  portraits,  and  are 
rather  neatly  engraved.  The  following  portraits 
are  by  him : 

Pope  Innocent  XI. 

The  Dauphin,  Son  of  Louis  XIV. ;  oval. 

Mary  Antonia  Victoria,  of  Bavaria,  Dauphiness. 

Elizabeth  Charlotte,  Duchess  of  Orleans. 

"William  Henry,  Prince  of  Orange. 

Christian  V.,  King  of  Denmark. 

Herman  Werner,  Bishop  of  Paderborn. 

John  Sobieski,  King  of  Poland. 

Thesis,  with  the  Portrait  of  the  Bishop  of  MUnster. 

BOUVIER,  Adgostus  Jules,  a  painter  of  figure 
subjects  in  water  colour,  first  exhibited  at  the 
British  Institution  in  1848.  In  1853  be  vf.is  made 
a  member  of  the  Institute  (then  the  New  Society) 
of  Painters  in  Water  Colours.  He  died  in  London 
in  1881,  aged  54. 

BOUYS,  AndrS,  a  French  portrait  painter  and 
mezzotint  engraver,  was  born  at  Hyeres  about  the 
year  1656.  He  studied  under  Francois  de  Troy, 
and  acquired  sufficient  reputation  to  gain  admission 
into  the  Academy  in  1688,  when  he  presented  a 
portrait  of  the  painter  Charles  de  La  Fosse,  now 
at  Versailles,  where  there  are  likewise  two  portraits 
of  himself,  one  of  them  representing  also  his  first 
wife.  He  died  in  Paris  in  1740,  having  engraved 
several  portraits,  among  which  are  the  following  : 

Andre  Bouys  and  his  first  Wife. 

Francois  de  Troy,  painter. 

Claude  Gros,  de  Boze ;  And.  Boys  pinx.  ad  viviim. 
1708. 


Fran9ois  Rene,  Marquis  de  Bellay ;  Bor/s  pinx. 

Jean  Baptiste  Massillon,  Bishop  of  Clermont;  Boys  fee. 

De  Marais,  famous  musician, 

BOUZAS,  Joan  Antonio,  was  born  at  Santiago 
about  the  year  1672.  He  was  a  scholar  of  Luca 
Giordano,  at  Madrid,  and  proved  a  very  promising 
artist.  He  painted  easel  pictures,  which  bear  a 
resemblance  to  those  of  his  master.  The  troubles 
occasioned  by  the  war  of  the  succession  obliged 
him  to  withdraw  himself  from  Madrid,  and  he 
returned  to  his  native  city.  His  principal  works 
are  in  the  churches  at  Santiago.  In  the  cathedral 
is  a  picture  of  '  St.  Paul  and  St.  Andrew,'  and  in 
the  convent  of  the  Dominicans  are  two  altar-pieces 
by  him.     He  died  in  1730. 

BOUZEY.     See  Woeiriot. 

BOUZONNET,  Antoine,  (or  Bousonnet,)  called 
A.  Stella,  was  the  nephew  of  Jacques  Stella,  and 
was  born  at  Lyons  in  1634.  He  was  instructed  by 
his  uncle  in  the  rudiments  of  design,  and  is  said 
to  have  been  a  reputable  painter.  For  his  picture 
of  'The  Pythian  Games'  he  was  in  1666  received 
a  member  of  the  Royal  Academy  at  Paris,  where 
he  died  in  1682.  We  have  a  few  etchings  by  him, 
among  which  is  '  Moses  defending  the  Daughters 
of  Jethro,'  after  Poussin. 

BOUZONNET,  Antoinette,  known  as  A.  Stella, 
was  the  sister  of  Antoine  and  Claudine  Bouzormet, 
and  was  born  at  Lyons  about  the  year  1637.  Al- 
though she  was  not  equal  to  her  sister  in  the  use 
of  the  graver,  her  prints  possess  considerable 
merit.  Her  drawing  is  generally  correct  and  full 
of  taste.  A  third  sister,  FRAN90ISE,  was  also  a 
talented  engraver.  We  have,  among  others,  the 
following  prints  by  Antoinette  : 

Komulus  and  Relhas  suckled  by  a  Wolf ;  after  Antoine 
Bouzoniiet. 

The  Entry  of  the  Emperor  Rigismund  into  Mantua; 
after  Gtitlio  Romano. 

BOUZONNET,  Claudine,  called  C.  Stella,  was 
the  niece  of  Jacques  Stella,  and  was  born  at  Lyons 
in  1636.  She  learned  the  principles  of  design 
from  her  uncle,  but  applied  herself  to  engraving, 
in  which  she  greatly  distinguished  herself.  Her 
plates  are  chiefly  after  the  pictures  of  Jacques 
Stella  and  Nicolas  Poussin ;  and  perhaps  no  artist 
has  been  so  successful  in  engravings  after  the 
latter  painter,  she  having  greatly  surpassed  Jean 
Pesne.  Her  design  is  correct,  and  the  characters 
of  the  heads  are  admirably  expressed.  She  died 
in  Paris  in  1697.  The  following  are  her  best 
prints  : 
A  set  of  seventeen  plates  of  pastoral  subjects,  including 

the  title ;  after  Jacques  Stella. 
Fifty  plates  of  the  Sports  of  Children,  and  rural  sub- 
jects ;  after  the  same. 
The  Marriage  of  St.  Catharine  ;  after  the  same. 
Moses  fouud  in  the  Bulrushes;  in  two  plates;    after 

N.  Poussin. 
Moses  striking  the  Rock;  after  the  same;  very  fine. 
The  Crucifixion,  called  the  Great  Calvary;  after  the 

same  ;  very  fine. 
St.  Peter  and  St.  John  curing  the  Lame  Man  ;  after  the 

same. 
The  Holy  Family,  with  St.  Elisabeth  and  St.  John ; 

after  the  same. 
Another  Holy  Family,  with  children  bringing  flowers ; 

after  the  same. 
BOVINET,  Edme,  a  French  engraver,  who  was 
born  at  Chaumont  in  1767,  was  a  pupil  of  Patas. 
His  works  are  after  the  most  eminent  Italian,  Dutch, 
and  French  painters  ;  some  are  in  the  Galerie  du 
Musee  Napoleon.  He  died  at  Creil  about  1832. 
The  best  of  his  engravings  are : 

185 


A  BIOGRAPHICAL  DICTIONARY  OF 


The  Campo  Vaccino  ;  after  Claude  Lorrain. 
The  Schoolmaster  ;  after  Ostade. 
Orpheus  and  Eurydice ;  after  Poussin. 

BOVINI,  Francesco.  In  the  description  of  the 
pictures  at  Ferrara,  by  C.  Barotti,  there  are  men- 
tioned two  altar-pieces  by  this  master,  in  the  church 
of  tlie  Oratorio  della  Penitenza  in  that  city,  one 
representing  'The  Immaculate  Conception,'  the 
other  '  The  Adoration  of  the  Magi.' 

BOWER,  Edward,  is  known  as  the  painter  of  a 
portrait  of  Charles  I., '  The  King  seated  at  his  Trial,' 
in  the  possession  of  Mr.  W.  H.  Pole  Carew,  and 
of  Lord  Fairfax  and  otlier  celebrated  men.  Some 
of  his  worUs  were  engraved  by  Hollar. 

BOWLER,  Thomas  Williaji,  a  landscape  painter, 
lived  for  some  years  at  the  Cape  of  Good  Hope, 
and  published  a  series  of  views  of  Cape  Town 
and  its  neiglibourhood.  He  afterwards  visited 
Mauritius,  and  brought  home  many  drawings  taken 
in  that  island.     He  died  in  1869. 

BOWLES,  Thumas,  an  English  engraver,  was 
born  in  London  about  the  year  1712.  He  published 
a  set  of  thirty  views  of  the  public  edifices  in  and 
near  London,  of  which  some  of  the  plates  were 
engraved  by  himself,  the  others  by  Fourdriniere, 
Vivares,  and  others  ;  among  them  are  : 

A  View  of  London  from  the  Thames.    1751. 

Somerset  House.     1753. 

Greenwich  Hospital.     1745. 

The  Rotunda  at  Ranelagh.     1751. 

The  Royal  Exchange. 

St.  Mary-le-Bow. 

BOWNESS,  William,  was  born  at  Kendal  in 
1809.  He  was  an  exhibitor  in  the  Suffolk  Street 
Gallery  and  at  the  Royal  Academy  from  18-41  to 
1855,  sending  portraits  and  occasionally  figure  sub- 
jects.    He  died  in  1867. 

BOWRING,  Benjamin,  an  English  portrait 
painter  in  oil  and  miniature,  exhibited  at  the  Royal 
Academy  from  1773  till  1781. 

BOWYER,  Robert,  born  in  1758,  was  n  cele- 
brated miniature  painter  in  the  reign  of  George 
III. ,  and  was  much  patronized  by  the  Court.  He 
published  a  '  History  of  England,'  with  portraits, 
which  bears  his  name.     He  died  at  Byfleet  in  1834. 

BOXALL,  Sir  William,  was  born  on  the  29tli 
of  June,  1800,  at  Oxford,  and  received  such  edu- 
cation as  his  father,  a  supervisor  of  excise,  was 
able  to  afEord  at  the  Grammar  School  at  Abingdon. 
As  he  early  showed  a  love  and  ability  for  drawing, 
he  was  sent  to  London,  and  in  1819  obtained  ad- 
mission into  the  Art  Schools  of  the  Royal  Academy. 
About  eight  years  later  he  went  to  Italy  to  study 
the  works  of  the  old  masters,  which  laid  a  sure 
foundation  for  that  judgment  and  discrimination 
on  art  matters  which  were  afterwards  of  such 
eminent  service  to  him.  He  returned  to  London 
in  1829,  and  in  that  year  exhibited  '  Jlilton's  Recon- 
ciliation with  his  Wife,'  and  a  portrait  of  Thomas 
Stothard  ;  and  thenceforth  till  1866  he  was  a  con- 
stant contributor  to  the  annual  exhibitions  of  the 
Royal  Academy,  sending  in  all  no  less  than  eighty- 
three  works.  Though  for  some  years  he  continued 
to  paint  allegoric  subjects,  as  for  instance  his 
'Lear  and  Cordelia'  and  'Hope,'  yet  he  finally 
devoted  himself  to  portraiture.  Among  the  persons 
who  sat  to  him  were — Allan  Cunningham,  Copley 
Fielding,  Landor,  David  Cox,  Coleridge,  Words- 
wortli,  Frederick  Huth,  and  the  Prince  Consort, 
Mrs.  Hanbury  Leigh,  Miss  Harriot  Hosmer  the 
American  sculptor,  Mrs.  Cardwell,  and  Mr.  and 
Mrs.  Pete. 

186 


Soon  after  the  death  of  Sir  Charles  Eastlake,  in 
December  18G5,  Boxall  was  appointed  director  of 
the  National  Gallery.  He  was  compelled,  how- 
ever, in  1874,  to  resign  the  directorship,  the  duties 
of  which  he  had  performed  with  judgment,  discre- 
tion, and  zeal,  and  in  recognition  received  the 
honour  of  knighthood  on  the  24th  of  March,  1871. 
In  1852  he  had  been  elected  an  Associate  of  the 
Royal  Academy,  and  twelve  years  later  he  received 
the  full  membership,  which  he  resigned  in  1877. 
He  was  also  an  honorary  member  of  the  Academy 
of  S m  Fernando  at  Madrid.  He  died  in  London 
on  the  Gth  of  December,  1879. 

In  the  Diploma  Gallery  at  Burlington  House 
there  hangs  his  portrait  of  John  Gibson,  the  sculp- 
tor, painted  in  1863,  and  exhibited  in  the  follow- 
ing year;  in  the  National  Gallery  he  is  represented 
by  a  single  work,  and  that  neither  typical  nor  a 
masterpiece.  It  is  entitled  '  GeraLline,'  and  repre- 
sents a  lady  at  her  toilet  ;  it  was  exhibited  at  the 
Royal  Academy  in  1850. 

BOYCE,  G.  S.,  born  in  1826,  was  educated  as 
an  architect,  and  articled  to  Mr.  Little.  He 
travelled  largely  on  the  Continent,  and  made 
careful  studies  of  various  styles  of  architecture ; 
but,  on  meeting  David  Cox  at  Bettws-y-Coed  in 
1849,  he  took  up  landscape  art,  though  he  did 
not  exhibit  till  1853.  In  1864  he  was  elected  an 
Associate  of  the  old  Water  Colour  Society,  but 
waited  fourteen  years  for  full  membership.  He 
was  one  of  the  founders  of  the  Hugarth  Club  ; 
and  was  a  great  friend  and  admirer  of  the  late 
Dante  G.  Rossetti,  and  brother-in-law  of  H.  T. 
Wells,  R.A.  He  retired  in  1893,  dying  three  years 
later. 

BOYCE,  Johanna  Mart.     See  Wells. 

BOYCE,  Samuel.  The  name  of  this  engraver  is 
affixed  to  a  portrait  of  Edward  Russell,  Earl  of 
Orford.     He  died  in  1775. 

BOYDELL,  John,  who  was  born  at  Dorrington, 
in  Shropshire,  in  1719,  was  the  son  of  a  land- 
surveyor,  who  brought  him  up  to  his  own  pro- 
fession, which  he  followed  until  he  reached  the  age 
of  twenty.  Having  at  that  period  accidentally 
met  with  Badeslade's  %news  of  different  country 
seats  in  England,  particularly  one  of  Hawarden 
Castle,  with  whicli  he  was  well  acquainted,  he 
determined  to  learn  the  art  of  engraving.  With 
this  resolution  he  came  to  London,  and  bound  him- 
self a  pupil  to  Toms,  the  engraver  of  the  plate  he 
had  so  much  admired.  Under  that  artist  he  applied 
liimself  with  great  assiduity  for  six  years.  On 
leaving  his  instructor,  his  first  publication  was  a 
set  of  six  views  near  London,  which,  on  account  of 
there  being  a  bridge  in  each  of  them,  was  called 
'  The  Bridge  Book.'  He  afterwards  engraved 
many  plates  of  views  in  England  and  Wales, 
which  he  published  in  one  volume,  at  the  price  of 
five  guineas.  This  publication  may  be  regarded  as 
the  basis  on  which  he  raised  the  structure  of  his 
future  eminence,  and,  as  he  used  himself  to  express 
it,  was  the  first  book  that  ever  made  a  lord  mayor 
of  London.  By  the  profits  of  this  work  he  was 
enabled  to  commence  that  encouragement  to  young 
artists  which  he  afterwards  carried  to  so  laudable 
an  extent.  The  art  of  engraving  was  at  that  time 
at  a  very  low  ebb  in  England,  and  the  collectors 
of  prints  were  in  the  habit  of  receiving  them  from 
abroad.  It  may  be  very  justly  attributed  to  the 
persevering  industry  of  Boydell  that  it  was  carried 
to  such  perfection  as  to  occasion  the  works  of 
British  engravers  to  be  sought  after  through  every 


PAINTERS  AND  ENGRAVERS. 


part  of  Europe.  The  distinguished  success  which 
crowned  the  labours  of  this  extraordinary  man  in 
the  promotion  of  engraving  served  only  to  excite 
him  to  further  projects  for  the  advancement  of  the 
arts  ;  and  he  formed  an  extensive  and  liberal  plan 
for  the  encouragement  of  painting  in  his  prodigious 
undertaking — tlie  illustration  of  Shakespeare,  with 
engravings  from  pictures  painted  by  the  most 
eminent  English  artists.  It  is  said  to  have  been 
Boydell's  intention  to  have  bequeathed  the  Shake- 
speare Gallery  of  Paintings  to  the  public,  but  the 
disastrous  consequences  of  the  French  Revolution, 
which  operated  very  prejudicially  to  his  extensive 
concerns,  made  it  necessary  for  him  to  apply  to 
Parliament  to  dispose  of  it  by  lottery.  His  applica- 
tion was  acceded  to.  In  1774  he  was  elected 
alderman  of  his  ward,  and  in  1791  served  the 
office  of  lord  mayor  with  great  distinction.  Boydell 
lived  to  the  advanced  age  of  86,  respected  by  all 
who  knew  him.     He  died  in  1804. 

The  extent  of  Boydell's  labours  may  be  esti- 
mated from  the  fact  that  he  issued  4432  plates, 
which  were  published  in  forty-eight  folio  volumes, 
of  which  twenty-six  volumes  were  occupied  with 
the  English  school,  fourteen  with  the  Italian,  six 
with  the  Dutch  and  Flemish,  and  two  with  the 
French  school. 

BOYDELL,  JosiAH,  who  was  born  at  Stanton,  in 
Shropshire,  in  1750,  was  nephew  of  John  Boydell. 
He  painted  a  few  pictures  for  the  edition  of  Shake- 
speare published  by  his  uncle,  which  were  fairly 
well  executed.  He  also  exhibited  portraits  and 
other  works  at  the  Academy  from  1772  to  1779. 
He  was  an  alderman  of  London,  and  Master  of  the 
Stationers'  Company.  He  died  at  Halliford  in 
1817. 

BOYER,  Jean  Baptiste,  Marquis  d'Aguilles, 
a  French  nobleman,  was  born  at  Aix,  in  Pro- 
vence, in  1650,  and  was  procurator-general  of  the 
parliament  of  that  town.  His  love  of  the  arts  led 
him  into  an  intimacy  with  the  principal  artists  of 
his  time,  particularly  with  Puget,  the  celebrated 
sculptor,  with  whom  he  went  to  Italy,  and  formed 
a  large  collection  of  pictures,  sculpture,  &c.,  of 
which  he  published  the  prints  in  two  volumes  ;  six 
of  the  plates  were  engraved  by  himself.  He  also 
amused  himself  with  painting,  for  which  he  is 
said  to  have  had  an  excellent  taste.  He  died  at 
Aix  in  1709.  Some  of  his  plates  are  executed 
with  the  graver,  the  others  scraped  in  mezzotint. 
Among  others  we  have  by  him  : 

The  Marriage  of  St.  Catharine ;  after  Andrea  del  Sarto  ; 

with  the  graver. 
Two  figures  of  Christ ;  on  one  plate ;  the  same. 
Two  Landscapes  ;  after  Brecourt  ;  the  same. 
St.  John  the  Baptist ;  after  Manfredi ;  mezzotint. 
Bust  of  a  Man  ;  the  same. 

BOYNE,  John,  born  in  the  County  Down  about 
1750,  is  known  as  a  water-colour  painter  of  some 
repute.  He  was  apprenticed  to  Byrne,  the  landscape 
engraver,  but  it  is  said  led  a  wild  kind  of  life.  He 
died  in  1810.  A  drawing  by  him,  '  A  Meeting  of 
Connoisseurs,'  is  in  the  South  Kensington  Museum. 

BOYS,  Andre.     See  Bouys. 

BOYS,  H.  DU.     See  Dn  Boys. 

BOYVIN,  Ren6.     See  Boivm. 

BOZAUS.     See  Woeiriot. 

BOZE,  Joseph,  a  French  portrait  and  miniature 
painter,  was  born  at  Les  Martigues  (Bouches-du- 
Rhone)  about  1746.  He  painted  the  portraits  of 
Louis  XVI.  and  Marie  Antoinette,  and,  being 
devoted  to  the  court  and  the  royal  family,  narrowly 


escaped  the  guillotine.  He  was  thrown  into  prison, 
but  the  fall  of  Robespierre  set  him  at  liberty,  and 
he  came  to  England,  where  he  remained  until  the 
restoration.  He  died  in  Paris  in  1826.  His  own 
portrait  is  among  his  drawings  in  the  Louvre. 

BOZZATO,  II.     See  Ponchino. 
BRABANT,   Henri   BELLECHOSE   de.      See 
Bellechose. 

BRACCIOLI,  Giovanni  Francesco,  who  was 
born  at  Ferrara  in  1698,  was  first  a  scholar  of 
Giacomo  Parolini,  but  afterwards  went  to  Bologna, 
and  studied  under  Giuseppe  Crespi.  On  his  return 
to  Ferrara  he  was  employed  in  painting  for  some 
of  the  churches  and  convents.  In  the  oratory  of 
the  Theatines  is  an  altar-piece  by  tliis  master,  repre- 
senting '  The  Annunciation  ; '  and  in  the  church  of 
St.  Catharine  there  are  two  pictures,  one  'The 
Flagellation,'  and  the  other  '  Christ  crowned  with 
Thorns.'  According  to  Barotti,  these  are  his  best 
works.     He  died  at  Ferrara  in  17G2. 

BRACELLI,  Giovanni  Battista,  an  Italian 
painter  and  engraver,  was  born  at  Genoa  about 
1584.  He  was  a  scholar  of  Giovanni  Battista 
Paggi,  and  painted  historical  pictures  in  the  style 
of  his  master.  He  engraved  the  plates  for  an 
architectural  work  published  at  Rome  by  Giacomo 
Borozzio.  They  are  executed  in  a  neat,  stiff  style. 
He  died  young,  in  1609. 

BRACQUET,  Philippe,  a  French  historical 
painter,  was  born  at  Douai  at  the  commencement 
of  the  16th  century.  He  was  an  artist  of  merit, 
and  worked  at  Valenciennes  in  1558. 

BRADEL,  P.  Jean  Baptiste,  a  French  draughts- 
man and  engraver,  was  born  in  Paris  about  1750. 
He  was  chiefly  employed  in  engraving  portraits, 
which  are  neatly  executed,  and  which  include  the 
following  plates: 

Pope  Benedict  XIV. 

Pope  Clement  XIY. 

Madame  Louise,  of  France. 

Louis  Francois  Gabriel  de  la  Motte,  Bishop  of  Amiens, 

General  Paoli. 

Prosper  Jean  de  Crebillon. 

Jean  Bart,  Admiral. 

The  Chevalier  d'Bon. 

An  allegorical  subject ;  inscribed  TrUms  et  unua. 

A  Boy  playing  on  the  Tambour  de  Basque. 

BRADLEY,  William,  was  born  at  Manchester 
in  1801.  Left  an  orphan  when  only  three  years  of 
age,  he  commenced  life  as  an  errand  boy,  but  his 
innate  taste  for  drawing  prevailed  over  all  impedi- 
ments, and  at  sixteen  years  of  age  he  began  prac- 
tice as  an  artist,  taking  portraits  at  one  shilling 
each,  and  advertising  himself  as  "  portrait,  minia- 
ture, and  animal  painter,  and  teacher  of  drawing." 
He  had  a  few  lessons  himself  from  Mather  Brown, 
then  in  high  repute  at  Manchester  ;  and  at  the  age 
of  twenty-one  went  to  London,  where  he  was  for- 
tunate enough  to  obtain  an  introduction  to  Sir 
Thomas  Lawrence,  who  gave  him  encouragement. 
After  remaining  some  years  in  the  metropolis,  in 
the  course  of  which  time  he  paid  occasional  visits 
to  Manchester,  he  finally,  in  1847,  settled  down  in 
the  latter  town  ;  where,  as  in  London,  he  enjoyed 
a  large  share  of  patronage.  Amongst  the  portraits 
painted  by  him  are  those  of  Lords  Beresford,  San- 
don,  Denbigh,  Bagot,  and  Ellesmere ;  Sir  E. 
Kerrison,  John  Gladstone,  B.  Hcywood,  James 
Emerson  Tennent ;  Col.  Currieton,  C.  B.,  Col. 
Anderton,  the  Rt.  Hon.  W.  E.  Gladstone,  Sheridan 
Knowles,  W.  C.  Macready,  &c.  As  an  artist 
Bradley  undoubtedly  possessed  high  talent.  His 
heads  are  remarkable  for  skilful  drawing,  and  he 

187 


A  BIOGRAPHICAL  DICTIONARY  OF 


was  not  second  to  any  man  of  the  day  in  produc- 
ing a  striking  and  intellectual  likeness.  During 
his  later  years  his  health  failed,  his  mind  was 
affected,  and  he  lost  the  money  he  had  made  in  his 
early  career.     He  died  in  1857. 

BRAED,  NicOLAAS,  was  a  Dutch  engraver,  who 
flourished  from  the  year  1600  till  about  the  year 
1630.  He  engraved  several  plates  from  the  designs 
of  Hendrik  Goltzius  and  Jakoh  Matham.  His  name 
is  also  affixed  to  a  small  upright  plate,  represent- 
ing '  Christ  before  Pilate,'  after  Tintoretto. 

BRAEKELEER.     See  De  Braekeleer. 

BRAKENBURG,  Richard,  was  born  at  Haarlem 
in  1650.  He  was  first  instructed  in  art  by  Mom- 
mers,  a  landscape  painter,  but  he  afterwards  be- 
came a  scholar  of  Bernard  Schendel,  whose  style 
was  more  suited  to  his  genius.  He  painted  simi- 
lar subjects  to  those  of  his  master,  representing 
merry-makings  and  drunken  assemblies.  His  pic- 
tures are  painted  with  facility,  although  they  have 
the  appearance  of  being  very  highly  finished  ;  and 
he  perfectly  understood  the  management  of  chiaro- 
scuro. His  greatest  defect  is  his  incorrect  drawing 
of  the  figure.  He  died  at  Haarlem  in  1702.  The 
Vienna  Gallei-y  has  two  '  Peasant  Scenes  '  by  him, 
the  Berlin  Museum  one,  and  the  Amsterdam  Gallery 
one.  In  the  Brussels  Gallery  is  a '  Children's  Feast,' 
signed  and  dated  1698;  and  the  Rotterdam  Museum 
has  a  '  Doctor's  Visit,'  signed  and  dated  1696.  In 
Windsor  Castle  are  two  good  '  Artists'  Studios '  by 
him.  He  also  sometimes  practised  the  art  of 
engraving. 

BRAMANTE  da  MILANO.     See  Milano. 

BRAMANTE  DA  URBINO.    SeeLAZZABl. 

BRAMANTINO.     See  Sdardi. 

BRAMBILLA,  Giovanni  Battista,  was  a  native, 
of  Piedmont,  and  flourished  about  the  year  1770. 
He  was  a  scholar  of  Cavaliere  Carlo  Delfino,  and  I 
acquired  no  mean  reputation  as  a  painter  of  history.  | 
There  are  some  of  his  works  in  the  churches  at 
Turin,  of  which  the  most  worthy  of  notice  is  a| 
picture  of  the  '  Martyrdom  of  St.  Dalmazio,'  in  the  [ 
church  dedicated  to  that  saint. 

BRAMBINI,  Ambrogio,  was  a  native  of  Italy, 
and  flourished  about  the  year  1580.  Among  other 
works  he  engraved  a  large  plate,  entitled  '  Bene- 
dizione  del  Pontefice  nella  Piazza  di  San  Pietro.' 
The  composition  consists  of  a  great  number  of 
figures,  and  it  is  executed  in  a  slight  style,  some- 
what resembling  that  of  A.  Tempest  a.  It  is  from 
a  design  of  C.  Duchetti,  and  is  inscribed  Ambrosius 
Bram.  F. 

BRAMER,  Leonard,  was  born  at  Delft  in  1596. 
In  1614  he  started  on  a  rambling  tour,  and  went 
through  France  and  Italy,  in  the  latter  of  which 
he  passed  many  years  of  his  life.  At  Rome  he 
was  a  member  of  the  Colouy  of  Dutch  Artists, 
presided  over  by  Elzheinier.  He  resided  for  some 
time  at  Florence  and  at  Venice.  On  his  return  to 
Delft  he  founded  a  Guild  of  St.  Luke,  and  ailorned 
the  meeting-hall  with  frescoes.  He  also  decorated 
the  Doelen,  a  public  edifice  in  Delft.  The  date  of 
his  death  is  not  recorded ;  he  was  still  living  in  1667. 
He  painted  historical  subjects  of  a  small  size,  which 
he  ornamented  with  vases  of  gold  and  silver,  imitated 
witli  a  precision  bordering  on  servility.  His  pencil 
is,  however,  light  and  spirited,  and  he  was  a  perfect 
master  of  chiaroscuro.  He  also  excelled  in  paint- 
ing night-pieces  with  towns  on  fire,  and  caverns 
with  the  light  coming  from  above,  in  the  manner  of 
Rembrandt,  and  this  has  led  persons,  unacquainted 
with  the  time  in  which  he  lived,  to  suppose  he  was 
188 


a  scholar  of  that  master.  A  '  Descent  from  the 
Cross  '  by  Bramer,  in  which  the  body  of  Christ  was 
lighted  by  a  sun's  ray,  after  Rembrandt's  manner, 
was  formerly  in  the  Museum  of  Rotterdam,  but  it 
perished  in  the  fire.  He  also  executed  seventy-two 
indian-ink  drawings  of  the  '  Bulenspiegel,'  and 
was  to  some  small  extent  an  engraver,  three  plates 
of  his  being  mentioned,  viz., 'Christ  with  Nico- 
demus,'  a  '  Musician,'  and  '  Still  Life.'  Among  his 
best  paintings  may  be  noticed : 
Delft.         Town  Hall.    Archers. 

Dresden.    Oallery.  Christ  mocked  {signed  and  dated 

lt)37). 
„  „  Solomon  in  the  Temple. 

„  „  Solomon  and  the  Queen  of  Sheba. 

Madrid.      Gallery.  The  grief  of  Hecuba. 

„  „  Abraham  and  the  three  Angels. 

Vienna.      Selvedere.       Vanity. 

„  „  Transitoriness. 

BRAND,  Christian  HfiLFGoxT,  who  was  born 
at  Frankfort-on-the-Oder  in  1695,  and  studied  un- 
der Agricola,  left  that  town  and  settled,  in  1720, 
at  Vienna,  where  he  became  celebrated  for  his 
landscapes.  He  died  at  Vienna  in  1756.  The 
Belvedere  has  by  him  four  pictures,  landscapes 
with  figures  of  cattle. 

BRAND,  Friedrich  AnonsT,  the  son  of  Christian 
Hiilfgott  Brand,  was  born  at  Vienna  in  1735.  He 
was  a  member  of  the  Imperial  Academy,  and  died 
at  Vienna  in  1806.  He  painted  several  historical 
subjects  and  landscapes,  which  are  favourably 
spoken  of  by  the  German  authors,  and  engraved 
some  plates,  both  with  the  point  and  with  the 
graver,  in  the  use  of  which  he  was  instructed  by 
Sohmutzer.  Among  others,  we  have  the  following 
by  him : 

The  Breakfast ;  after  Torenvliet. 

A  View  near  Nuisdorf . 

View  of  the  Garden  of  Schoenbrunn. 

Banditti  attacking  a  Carriage. 

The  Entrance  to  the  Town  of  Crems. 

BRAND,  JoHANN  Christian,  a  German  painter 
and  engraver,  was  born  at  Vienna  in  1723,  and  was 
instructed  in  art  by  his  father.  Christian  Hiilfgott 
Brand.  He  acquired  great  celebrity  in  Germany 
as  a  landscape  painter,  and  was  made  professor  of 
the  Imperial  Academy  at  Vienna  in  1770.  Ho 
died  there  in  1795.  The  Belvedere  at  Vienna  has 
a  '  Battle  of  Hochkirchen '  by  him,  and  six  land- 
scapes ;  and  in  the  Darmstadt  Gallery  there  is  a 
picture  of  '  Fishermen  on  a  Sea  Coast.'  He  etched 
several  plates  of  landscapes,  in  a  spirited  style, 
among  them  the  following: 

Eighteen  of  Landscapes,  Heads,  and  Animals.     1786. 

Four  Landscapes,  with  Peasants. 

Six  other  Landscapes,  engraved  in  a  different  manner. 

BRANDARD,  E.  P.,  born  in  1819,  was  a 
younger  brother  of  the  eminent  line-engraver, 
R.  Brandiird,  to  whom  he  was  apprenticed  in 
Islington  as  a  lad.  He  was  an  ardent  admirer 
of  Turner,  who  often  visited  the  studio  to  touch 
the  proofs  of  his  works.  He  engraved  several : 
among  them  the  '  Grand  Canal  at  Venice,'  as  well 
as  '  The  Hay  Wain,'  and  '  Salisbury  Cathedral,'  by 
Constible.  He  engraved  a  view  of  Balmoral  Castle 
for  Queen  Victoria's  'Journal  of  the  Highlands,' 
and  contributed  numerous  plates  to  the  Art 
Union  of  London.  He  exhibited  many  drawings 
at  the  Royal  Academy  and  other  galleries,  and 
died  on  April  3,  1898. 

BRANDARD,  .John,  a  brother  of  Robert  Brand- 
ard,  was  born  at  Birmingham  in  1812.  He  was 
for    many    years   well    known    as    an    excellent 


PAINTEKS  AND  ENGRAVERS. 


lithographic  artist.  He  designed  many  hundred 
illustrated  title-pages  for  music  in  a  pretty,  though 
weak,  style.     He  died  in  1863. 

BRANDARD,  Robert,  a  landscape  engraver, 
was  born  at  Birmingham  in  1805.  He  went  to 
London  in  1824,  and  entered  the  studio  of  Edward 
Goodall,  with  whom,  however,  he  remained  only 
a  year.  He  engraved  some  of  the  subjects  for 
Brockedon's  'Passes  of  the  Alps,'  Captain  Batty's 
'  Saxony,'  Turner's  '  England  and  Wales,'  and 
'  English  Rivers,'  and  numerous  plates  for  the 
'  Art  Journal,'  after  Turner,  Stanfield,  Callcott, 
Herring,  and  others.  His  most  important  engrav- 
ings on  a  large  scale  were  Turner's  '  Crossing  the 
Brook,'  '  The  Snow-storm,'  and  '  The  Bay  of  Baiae.' 
He  also  published  two  volumes  of  etchings,  chiefly 
landscapes,  after  his  own  designs.  He  occasion- 
ally exhibited  small  oil  pictures  at  the  British 
Institution,  which  were  distinguished  by  a  good 
feeling  for  nature  and  a  healthy  tone  of  colour. 
He  died  in  1862.  '  Rooks  at  Hastings,'  in  water- 
colour,  by  him,  is  in  the  South  Kensington  Museum. 

BRANDEL,  Petr  Jan,  a  Bohemian  painter,  was 
born  at  Prague  in  1668.  He  was  a  scholar  of  Jan 
Schroter,  and  in  four  years  surpassed  his  master. 
He  gave  proof  of  his  ability  in  many  pictures 
painted  for  the  churches  and  other  public  edifices 
at  Prague  and  Breslau.  He  died  in  the  greatest 
poverty  at  Kuttenberg  in  173.5.  In  the  Belvedere 
at  Vienna  is  a  picture  of  '  The  Woman  taken  in 
Adultery,'  by  him. 

BRANDENBEKG,  Johann,  was  born  at  Zug,  in 
Switzerland,  in  1660.  He  was  the  son  of  Thomas 
Brandenberg,  a  painter,  by  whom  he  was  instructed 
in  the  art.  On  the  death  of  his  father  he  was  taken 
under  the  protection  of  the  Count  of  Ferrara,  who 
took  him  to  Mantua,  where  he  was  so  struck  with 
the  fine  works  of  Giulio  Romano  that  he  applied 
himself  with  great  diligence  to  studying  and  copy- 
ing them.  On  his  return  to  his  native  country  he 
gave  convincing  proof  of  the  advantage  his  study 
had  been  to  him  in  pictures  he  painted  for  the 
churches  of  the  different  towns  in  Switzerland. 
He  painted  pastoral  subjects  in  fresco  on  the 
ceiling  of  the  concert-room  at  Zurich.  His  his- 
torical pictures  are  well  composed,  correctly  drawn, 
and  vigorously  coloured.     He  died  in  1729. 

BRANDES,  Georq  Heinrich,  was  born  at  Bort- 
feld,  in  Brunswick,  in  1803,  and  learned  the  rudi- 
ments of  painting  under  the  guidance  of  F. 
Barthels  at  Brunswick.  From  1823  to  1825  he 
attended  the  Academy  of  Munich,  where  he  first 
devoted  himself  to  historic  painting  under  the  tuition 
of  Cornelius,  but  afterwards  turned  his  attention  to 
landscapes.  On  quitting  the  Academy  he  pro- 
ceeded to  the  Tyrol.  His  pictures  from  the 
Bavarian  mountains  won  him  a  reputation  by  their 
grandeur  of  disposition  and  effective  colouring. 
In  1830-31  he  visited  Italy,  and  passed  much  of 
the  time  in  Rome.  On  his  return  he  settled  down 
in  Brunswick,  and  became  a  teacher  of  painting 
and  design  as  well  as  gallery  inspector  at  the 
Ducal  Museum.  In  1845,  together  with  Neumann, 
he  restored  the  old  mural  paintings  in  Brunswick 
Cathedral.  He  died  at  that  city  in  1868.  The 
following  are  among  his  most  important  works  : 

View  near  Borne. 
Subiaco. 
The  Inundation. 

Landscape  in  the  Harz  Mountains  during  a  Thunder- 
storm. 
View  near  Salzburg  (in  the  Neva  Pinakot/iek  at  Munich). 


BRANDI,  DoMENico,  a  painter  of  birds,  animals, 
and  landscapes,  was  bom  at  Naples  in  1683,  and 
died  in  1735  or  1736.  He  was  painter  to  the 
Viceroy  of  Naples.  In  the  Madrid  Gallery  is  a 
landscape  with  herdsmen  and  cattle  by  him  ;  the 
Bordeaux  Museum  also  has  a  landscape  attributed 
to  him. 

BRANDI,  GiACiKTO,  was  born  at  Poli,  near 
Rome,  in  1623.  He  was  first  a  scholar  of  Giovanni 
Giacomo  Sementi,  of  Bologna ;  but  he  afterwards 
studied  under  Lanfranco.  In  the  early  part  of  his 
life  he  painted  some  admirable  pictures  in  the 
style  of  tliat  master,  but  from  his  love  of  pleasure 
and  expense  he  was  frequently  obliged  to  finish 
his  works  in  a  negligent  way  for  the  sake  of 
despatch.  In  his  best  pictures  we  find  a  grand 
style  of  composition,  a  firm  and  free  handling,  a 
fine  character  in  his  heads,  and  even  a  vigorous 
colour.  This  is  not,  however,  the  case  with  the 
majority  of  his  pictures,  which  are  frequently 
feeble  in  effect  and  incorrect  in  design.  He  was 
head  of  the  Academy  of  St.  Luke,  and  was  made 
a  knight  of  the  order  of  Christ.  His  principal 
works  at  Rome  are,  'The  Assumption  of  the 
Virgin,  with  St.  John  the  Baptist,  St.  Silvester,  and 
other  Saints,'  painted  in  the  vault  of  San  Silvestro  ; 
at  the  principal  altar  of  the  church  of  Gesii  e 
Maria  al  Corso,  'The  Crowning  of  the  Virgin;' 
the  vault  of  the  church  of  San  Carlo  al  Corso, 
representing  '  The  Fall  of  Lucifer  ;  '  in  the  church 
of  San  Rocco,  '  St.  Roch  giving  the  Sacrament  to 
the  Plague-stricken.'  He  died  at  Rome  in  1691. 
The  Dresden  Gallery  possesses  by  him  a  '  Daedalus 
and  Icarus,'  and  '  Moses  with  the  Tables  of  the 
Law,' and  in  the  Belvedere,  Vienna,  is  a  picture  of 
'  Paul  and  Anthony,  the  first  Hermits,'  by  him. 

BRANDMULLER,  Georg,  an  eminent  Swiss 
painter,  was  born  at  Basle  in  1661.  He  was  the 
son  of  a  member  of  the  council,  and  his  father 
possessing  a  collection  of  drawings  and  prints, 
Brandmiiller  evinced  an  early  inclination  for  the 
art  by  copying  some  of  them,  and  he  was  placed 
under  the  tuition  of  an  obscure  painter  named 
Gaspar  Meyer.  When  he  was  seventeen  years  of 
age  he  was  sent  to  Paris,  and  had  the  advantage 
of  studying  under  Le  Brun,  who  found  sufiicient 
ability  in  his  pupil  to  employ  him  to  paint  from 
his  designs,  in  the  works  he  was  then  engaged  in 
at  Versailles,  and  this  he  accomplished  to  the  entire 
satisfaction  of  his  master.  On  his  return  to  Swit- 
zerland he  was  invited  to  the  Court  of  Wiirtemburg, 
where  he  met  with  great  encouragement.  His 
genius  was  equal  to  the  composition  of  grand 
historical  subjects,  which  he  treated  with  nobleness, 
and  painted  with  great  spirit  and  fire.  One  of 
his  most  esteemed  works  is  a  '  Descent  from  the 
Cross,'  in  the  church  of  the  Capuchins  at  Dornach. 
He  also  excelled  in  portrait  painting,  which  he 
rendered  more  than  usually  interesting  by  the 
introduction  of  analogous  and  historical  attributes. 
This  artist  is  regarded  in  Germany  as  one  of  the 
ablest  painters  of  his  time,  and  probably  would 
have  left  behind  him  a  still  more  brilliant  reputa- 
tion if  his  talents  had  been  permitted  a  longer 
career,  but  he  died  when  still  young  in  1690. 

BRANDT,  — ,  a  native  of  the  Hague,  who  flour- 
ished about  1683,  was  a  pupil  of  G.  Netscher,  and 
showed  great  talent  in  the  manner  of  his  master, 
but  died  at  his  birthplace  in  the  flower  of  his  age. 

BRANDT,  Albertus  Jonas,  born  at  Amsterdam 
in  1788,  was  a  scholar  of  J.  E.  Morel,  after  whose 
death  in  1808  he  passed  two  years  with  G.  van  Os. 

189 


A  BIOGRAPHICAL  DICTIONARY  OF 


He  painted  dead  game,  fruit,  and  flowers.  His 
works  are  deservedly  esteemed.  He  died  at 
Amsterdam  in  1821. 

BRANDT,  R.,  a  German  engraver,  flourished 
about  the  year  1660.  His  name  is  affixed  to  a 
middling-sized  upright  plate,  from  his  own  design, 
representing  •  The  Virgin  and  Infant  Christ,  with 
St  Joseph  and  an  Angel.'  It  is  etched  in  a  style 
resembUng  that  of  Benedetto  Castiglione,  but  the 
draWng  is  incorrect. 

BRANSTON,  Allen  Robert,  the  son  of  _  a 
copper-plate  engraver,  was  bom  at  Lynn  in  1778. 
When  he  was  of  age  he  went  to  London,  and  took 
lessons  in  wood-engraving,  in  which  he  quickly 
rivalled  the  best  artists  of  the  day.  He  illustrated 
Bloomfield's  '  Wild  Flowers,'  published  in  1806,  a 
'  History  of  England,'  published  by  Scholey,  and 
other  works.  His  best  engraving  is  '  The  Cave  of 
Despair  '  in  Savage's  '  Hints  on  Decorative  Print- 
ing.'    He  died  in  London  in  1827. 

BRANWHITE.  Chables,  who  was  bom  in  1818, 
was  a  native  of  Bristol,  and  a  pupil  of  his  father, 
a  miniature  painter.  He  formed  a  friendship  with 
William  Miiller,  with  whom  he  studied,  and  by 
whose  style  he  was  much  influenced.  He  fre- 
quently exhibited  at  the  Society  of  Painters  in 
Water-Colours,  of  which  —  at  his  death,  which 
occurred  in  1880 — he  had  been  a  member  for  some 
years.     His  works  are  chiefly  landscapes. 

The  Environs  of  an  Ancient  Garden."!  Received  prizes 
1852.  >from    Glasgov) 

A  Frozen  Terry.     1853.  J  Art  Union. 

Ferry  on  the  Thames  {London  Univ.  Exh.    1862). 

BRASCASSAT,  Jacques  Raymond,  was  bom  at 
Bordeaux  in  1805.  He  studied  under  Richard  and 
Hersent.  The  Duchess  de  Berry  presented  him 
with  £1000,  to  enable  him  to  pass  five  years  in 
Italy.  In  1830  he  turned  his  attention  to  animal 
painting,  following  the  style  of  Paul  Potter.  He 
gained  in  1828  a  second  class  medal,  and  a  first 
class  in  1831  ;  he  was  also  made  a  Chevalier  of  the 
Legion  d'Honneur  in  1837,  and  became  a  member 
of  the  Institute  in  1846.  He  died  in  Paris  in 
1867.  The  Louvre  possesses  a  '  Bull '  bj-  him, 
signed  and  dated  1842.  and  a  '  Landscape  with 
Animals  '  of  the  year  1845;  and  three  Landscapes 
are  in  the  Bordeaux  Museum. 

BRASCH.  M.,  was  a  genre  painter  who  lived  in 
the  first  half  of  the  18th  century.  He  was  at  one 
time  a  pupil  of  Peter  Horemans  in  Munich,  but 
Uved  subsequently  at  Augsburg.  He  painted 
hunting  scenes  and  conversation  pictures ;  the 
latter  in  the  maimer  of  Horemans. 

BRASSAUW,  Melchiob,  a  native  of  Antwerp, 
flourished  in  the  eighteenth  century.  A  picture  of 
'  The  Prodigal  Son,'  in  the  Amsterdam  Gallery, 
bears  his  signature. 

BRASSEUR,  Antoise,  painter,  was  bom  at 
Lille  in  1819,  and  brought  up  at  the  Comtesse 
Foundling  Hospital.  He  gained  a  wide  reputation 
as  a  restorer  of  pictures,  following  his  calling  at 
Cologne.  On  his  death,  in  1886,  he  left  his  large 
collection  of  pictures  to  the  museum  of  his  native 
town. 

BRAUN,  Adam  Johann,  was  bom  at  Vienna  in 
1750,  and  was  from  1789  a  member  of  the  Academy 
of  Arts  of  his  native  city.  He  painted  genre  pic- 
tures in  the  style  of  Gerard  Dou  and  Mieris  ;  as 
well  as  portraits,  among  others  that  of  a  '  Lady  at 
the  Work-table,'  (signed  and  dated  1785,)  which 
is  in  the  Belvedere  at  Vienna.  He  was  also  a 
190 


clever  restorer  of  paintings.     He  died  at  Vienna 
in  1827. 

BRAUN,  AuGUSTiN,  (or  Bbun.)  was  a  painter 
and  engraver  who  was  bom  at  Cologne  about  1570, 
and  died  later  than  1627.  Of  his  works  there  are 
mentioned  : 

paintings. 

Cologne,  Wallraf  Museum,  The  Martyrdom  of  St. 
Febrinia;  Church  of  S.  George,  Seven  Pictvires  from 
the  Passion  ;  St.  Mary  in  tapitol.  Seven  Pictures 
from  the  Life  of  St.  Martin.  Dresden,  Gallery, 
Scenes  from  the  Life  of  the  Virgin — and  of  Christ. 

ESGRiVISGS. 
37  Scenes  from  the  Life  of  the  Virgin  Mary;  aftir 
Albrecht  Durer  and  others.     St.  Peter  in  a  Ship  with 
the  Keys,  1596.    A  Memorial  in  form  of  an  Altar, 
1595. 

BRAUN,  BABTHiLEMT,  a  French  historical  paint- 
er, was  a  native  of  Lorraine.  He  was  working  at 
Nancy  in  1583,  and  became  painter  in  ordinary  to 
the  Duke  of  Lorraine. 

BRAUN,  Caspeb,  who  was  born  in  1807  at 
Aschaffenburg,  first  studied  painting  in  the  Munich 
Academy,  and  then  turned  his  attention  to  wood- 
engraving,  in  which  he  received  instruction  from 
Brevieres  in  Paris  and  Dessauer  in  Munich :  and 
in  this  branch  of  art  he  was  very  successful.  He 
died  in  1877. 

BRAUNGART,  J.,  a  painter  of  landscapes  and 
architecture,  was  bom  at  Rottenacker,  in  Upper 
Swabia,  in  1803,  and  died  in  1849  at  Esslingen. 
He  has  left  some  elegant  productions,  including 
views  of  the  Frauenkirche  at  Esslingen  and  land- 
scapes in  the  Tyrol. 

BRAUWER.     See  Bbouweb. 

BRAUWERE,  De.  See  Db  Bbauwkbb,  also 
BsorwER. 

BRAY.     See  De  Bbay. 

BREA,  LoDOVico,  a  native  of  Nice,  flourished 
about  1500.  There  are  some  of  his  works  still  to 
be  seen  in  the  churches  in  Genoa  and  the  neigh- 
bourhood, which  have  remained  nearly  as  fresh  as 
when  they  were  first  painted.  In  Sant'  Agostino 
is  one  of  his  best  works,  representing  '  The  Murder 
of  the  Innocents,'  and  a  '  Coronation  of  the  Vir- 
gin '  (1513)  is  in  Santa  Maria  di  Castello.  His 
pictures  are  generally  signed  with  his  name,  and 
are  dated  from  1483  to  1513.  According  to  Soprani, 
his  works  are  well  composed  for  the  time,  and  his 
figures  tolerably  drawn  and  gracefully  turned. 

BREBES,  J.  B.,  was  a  French  engraver,  who 
executed  in  a  neat  style  some  plates  after  the 
designs  of  Ant.  Desgodetz  for  the  work  entitled 
'  Les  Edifices  de  Rome,'  which  was  published  in 
1682.  He  also  engraved  some  plates  after  Sebas- 
tien  Bourdon,  and  other  painters,  but  they  are  very 
indifferent. 

BREBIETTE,  Pierre,  a  French  painter  and 
engraver,  was  born  at  Mantes  in  1696.  He  studied 
under  Lallemand,  in  his  youth  travelled  in  Italy, 
became  painter  to  the  king  in  1637,  and  died  in 
Paris  between  the  years  1638  and  1650.  He  is  said 
to  have  been  a  painter  of  some  celebrity,  but  his 
works  in  painting  are  now  unknown.  Among 
other  works  he  engraved  several  plates  from  his 
own  designs,  which  are  composed  in  a  very  agree- 
able style,  and  etched  in  a  spirited  and  masterly 
manner.  He  marked  his  prints  with  the  letters 
PB  enclosed  within  a  heart  thus  ^  The  fol- 
lowing are  his  principal  works  : 


PAINTERS  AND  ENGRAVERS. 


SDBJECTS  FROM  HIS  OWN  DESIGNS. 
Pierre  Br^biette,  Calcographus,  in  a  Border,  with  two 
Angels.  Francois  Quesnel,  Pictor,  with  two  figures 
of  Painting  and  Fame.  A  set  of  various  subjects  ; 
inscribed  Opera  diversa  a  Peter  Brebietteiuventa,  1638. 
The  Nativity.  The  Adoration  of  the  Magi ;  an  un- 
finished plate.  The  Virgin  Mary  kneeling  before 
the  Infant  Saviour,  with  two  Angels.  The  Virgin, 
with  the  Infant  Jesus  sleeping.  The  Virgin,  witii 
the  Infant  crowned.  Several  Saints  kneeling  before 
the  Virgin.  The  Conversion  of  St.  Paul.  The 
Martyrdom  of  St.  Catharine.  The  Martyrdom  of 
St.  Sebastian.  The  Combat  of  the  Lapithas;  a  frieze. 
The  Death  of  the  Cliildren  of  Niohe  ;  a  frieze,  1625. 
Thetis  at  her  Toilet ;  a  frieze.  Sacrifice  to  Ceres  ;  a 
frieze.  Orpheus  surrounded  by  Animals.  Four  oval 
plates  of  the  Seasons.  Ten  friezes,  of  Bacchanalian 
subjects.  Twelve  friezes,  of  ditto ;  after  various 
masters.  Four  friezes,  of  Marine  Gods.  The  Holy 
Family,  with  St.  John;  after  Raphael.  The  Holy 
Family,  with  St.  John  ;  after  Andrea  del  Sarto.  The 
Martyrdom  of  St.  George;  after  Paolo  Veronese. 
Paradise;  after  Palma;  a  grand  composition, in  two 
sheets  ;  fine. 

BRl^CE,  Jean  Marie  de,  a  French  historical  and 
portrait  painter,  was  born  at  Brece  about  1502. 
This  very  skilful  artist,  who  was  likewise  an  en- 
graver, flourished  in  Paris  in  1530,  and  was  em- 
ployed at  the  Carmelite  convent  of  Brece  in  1534. 

BRECKELENKAMP  (Brecklinkam,  &c.).  See 
Bbekelenkam. 

BREDA,  Carl  Fredrik  von,  painter  to  the 
Swedish  Court,  was  born  at  Stockholm  in  1759. 
He  was  a  pupil  of  Reynolds,  and  distinguished 
himself  especially  in  portrait  painting,  on  account 
of  which  he  obtained  the  sobriquet  of  '  the  Van 
Dyck  of  Sweden.'  He  obtained  much  praise  for 
his  '  Four  Presidents  at  the  Reichstag  of  1810,' 
and  the  portrait  of  Lagerbring,  at  the  Ritterhaus 
in  Stockholm.  His  '  Belisarius '  is  another  of  his 
best  paintings.  He  died  in  1818.  His  son  Johan 
Fredrik  Breda,  born  in  London  in  1788,  died  at 
Stockholm  in  1835,  was  also  a  painter. 

BREDABL.  The  following  table  shows  the 
relationships  of  the  various  members  of  this  family 
of  artists.  According  to  Kramm,  the  form  Bkeda 
is  an  error,  but  a  picture  in  the  Amsterdam  Gallery, 
ascribed  to  Jan  Frana  van  Bredael,  is  signed  I 
BREDA  F : 

Willem  van  BredaeL 
I 


Pieter,  1622—1719. 


Jan 


?iet8r,  1664?— 1?33.    Alexander,  d.  1720. 
Jan  Frans,  1683—1750. 
Frana. 


George. 


BREDAEL,  Alexander  van,  (not  Breda,)  was 
a  native  of  Antwerp,  who  painted  Italian  views, 
fairs,  and  markets  with  figures  and  cattle,  which 
were  held  in  some  estimation  at  his  time.  He  died 
in  1720.  A  '  Fete  in  Antwerp  '  signed  Alexander 
VAN  Bredael.  f.  is  in  the  Lille  Gallery. 

BREDAEL,  Jan  Frans  van,  (not  Breda,)  the  son 
of  Alexander  van  Bredael,  was  born  at  Antwerp  in 
1683,  and  was  instructed  in  art  by  his  father.  He 
attached  himself  to  study  and  copy  the  works  of 
Philips  Wouwerman  and  Jan  Brueghel,  and  was  the 
most  successful  of  the  imitators  of  the  former.  He 
visited  England  with  Rysbrack  the  sculptor.  His 
pictures  became  in  vogue,  and  after  a  residence  of 
a  few  years  he  returned  to  Flanders  amply  re- 
munerated for  his  labours.  In  1726  he  was  made 
director  of  the  Academy  of  St.  Luke  at  Antwerp. 
When  Louis  XV.  made  his  entry  into  Antwerp  in 


1746,  he  was  pleased  with  the  works  of  this  artist, 
and  ordered  four  of  them  to  be  purchased  for  him ; 
and  the  example  was  followed  by  many  of  the 
attendant  courtiers,  who  liberally  paid  for  all  the 
pictures  he  could  finish.  The  works  of  Bredael 
have  little  claim  to  originality,  being  entirely  com- 
posed and  painted  in  undi.sguised  imitation  of 
Wouwerman ;  but  he  never  came  near  his  model, 
either  in  the  purity  of  his  colour  or  the  exquisite 
touch  of  his  pencil.  His  skies  and  distances  are 
as  blue  as  the  admirers  of  gaudiness  can  wish  them. 
Tlie  Dresden  GaUery  has  two  works  by  him— a 
'  Horseman  having  his  Steed  shod,'  and  a  '  Hawking 
Party  ; '  a  '  Military  Camp  '  by  him  is  in  the  Louvre, 
and  a  '  View  of  a  Village '  is  in  the  Amsterdam 
Gallery.     He  died  at  Antwerp  in  1750. 

BREDAEL,  Jozef  van,  a  Flemisli  painter,  born 
at  Antwerp,  August  14,  1688,  painted  landscapes, 
but  was  best  known  as  a  copyist  of  the  works  of 
Brueghel,  Wouvermans,  and  others,  for  the  picture- 
dealer  Jacob  de  Witte.  In  1736  he  settled  in  Paris, 
where  he  became  painter  to  the  Duke  of  Orleans. 
He  died  m  Paris  in  1739.  There  is  a  river  land- 
scape by  him  in  the  Rijks  Museum  at  Amsterdam. 
BREDAEL,  Pieter  van,  was  born  at  Antwerp 
in  1622,  and  entered  the  Guild  in  1650.  It  is  not 
said  under  whom  he  learned  the  art,  but  he  imi- 
tated the  works  of  Jan  Brueghel,  in  whose  style 
he  painted  small  landscapes,  with  figures  neatly 
touched  and  well  coloured.  He  passed  some  time 
in  Spain,  where  his  pictures  were  much  admired. 
From  the  objects  he  introduced  into  his  landscapes, 
it  is  very  probable  he  had  been  in  Italy,  as  they 
represent  the  ruins  of  architecture  in  the  environs 
of  Rome.  He  died  at  Antwerp  in  1719.  The  four 
works  attributed 'to  him  in  the  Vienna  Gallery 
are  stated  to  be  by  another  painter.  Two  Italian 
landscapes  with  figures  by  him  are  in  the  Academy 
at  Bruges,  and  one  is  in  the  Hague  Gallery. 

BREB,  Matthecs  Ignatius  van,  born  at  Ant- 
werp in  1773,  was  instructed  by  Regemorter ;  Ije 
afterwards  went  to  Paris,  and  after  having  obtained 
by  a  '  Cato  in  Utica '  the  second  prize  for  Rome, 
he  went  to  that  city  in  1797 — returning  to  his  na- 
tive countryin  1804.  His  conceptions  are  fre- 
quently poetical,  and  his  compositions  graceful, 
delineated  with  a  light,  free,  and  spirited  pencil ; 
but  his  colouring  is  rather  too  florid  in  some 
instances.  Among  his  most  important  works  are 
'  The  Patriotism  of  the  Burgomaster  Van  der 
Werft,'  in  the  Town-Hall  at  Leyden,  and  'The 
Death  of  Rubens,'  in  the  Museum  at  Antwerp. 
He  brought  forward  some  of  the  most  eminent 
of  the  later  Flemish  painters,  among  whom  are 
Wappers  and  De  Keyser.  Van  Br^e  died  at 
Antwerp  in  1839. 

BRfiB,  PHiLlPPns  Jacobds  van,  scholar  of  his 
brother  Mattheas,  was  born  at  Antwerp  in  1786. 
He  studied  at  Antwerp,  in  Paris  (where  he  became 
a  scholar  of  Girodet),  and  at  Rome ;  and  also 
visited  Germany  and  England.  He  employed 
himself  on  historical,  fancy,  and  architectural  sub- 
jects. Of  the  last,  the  Belgian  Government  pur- 
chased his  '  View  of  the  Interior  of  the  Church  of 
St.  Peter  at  Rome,'  and  presented  him  with  a  gold 
medal  in  addition  to  the  price.  He  was  made 
conservator  of  the  Museum  at  Brussels,  where  he 
died  in  1871. 

BRBEMBERG.     See  Bbeenberqh. 
BREEN,  GiSBERT,  or  Claes,  van,  a  Dutch  en- 
graver, flourished  about  the  year  1600.     His  plates 

191 


A  BIOGRAPHICAL  DICTIONARY  OF 


are  executed  entirely  with  the  graver,  in  a  neat 
manner,  resembling  the  style  of  Jacob  de  Gheyn, 
but  inferior  in  every  respect,  though  not  without 
considerable  merit.  We  have  the  following  plates 
by  him : 
The  Portr«dt  of  James  I.,  with  the  Queen  and  Prince  of 

Wales. 
Six,  of  subjects  from  the  Lives  of  young  Libertines ;  C. 

V.  Breenf. 
A  Woman  carrying  a  Basket  of  Eggs  to  Market,  with  a 

Man  with  a  Basket  of  Fowls  ;  after  Claus  Cock. 
A  Man  and  Woman  walking,  followed  by  a  figure  of 

Envy  ;  after  the  same. 
An  Ass  that  is  washed  recompenses  the  trouble    by 
kicking  and    biting ;     C.   van   Manner   pvtx.    G.   v. 
Breen  sc. 
Two  young  married  Persons  dissipating  their  Dower ; 

the  same. 
The  Companion,  representing  them  reduced  to  Misery ; 

tJie  same. 
A  Concert ;  after  Sbrassm. 

BREENBEKGH,  Bartholomeds,  (or  Breem- 
BERG,)  an  eminent  Dutch  painter,  who  was  known 
in  France  and  Italy  by  the  name  of  Bartolome, 
was  born  at  Utrecht  about  1620.  The  name  of  his 
instructor  has  not  been  recorded,  but  he  studied 
the  works  of  Poelenburg  with  great  assiduity,  and 
he  was  ranked  among  the  most  promising  artists 
of  his  country  before  his  departure  for  Italy,  where 
he  lived  the  greatest  part  of  his  life.  The  environs 
of  Rome  are  so  many  li^^ng  pictures  for  the  con- 
temptation  of  the  artist ;  and  the  beautiful  sites  of 
Albano,  Frescati,  and  Tivoli  are  naturally  the 
haunts  of  the  intelligent  landscape  painter.  This 
delightful  scenery  furnished  the  subjects  of  his  pic- 
tures, which  he  decorated  with  figures,  generally 
representing  some  subject  of  Bible  history.  There  is 
an  elevated  style  in  the  arrangement  of  his  works, 
and  he  seems  to  have  inhaled  the  taste  of  Italy 
with  the  atmosphere  he  breathed.  In  some  of  his 
works  he  imitated  Titian  and  the  Carracci.  His 
pictures  have  nothing  of  the  characteristic  vulgarity 
of  his  country.  His  best  works  are  small ;  when 
he  attempted  a  larger  scale  he  was  less  successful. 
There  is  great  suavity  in  bis  colouring,  and  his 
pencil  is  exquisite  and  delicate.  He  was  still 
living  in  1663.  Of  his  works,  which  are  seen  in 
many  European  galleries,  we  may  notice  three  Land- 
scapes mth  Ruins,  in  the  Dulwich  Gallery  ;  six 
landscapes  (some  with  subjects  introduced)  in  the 
Louvre  ;  a  'Monk  praying'  in  the  Munich  Gallery  ; 
a  ■  Landscape  with  Ruins  and  Cattle '  at  Vienna ; 
and  '  Joseph  selling  Bread  during  the  Famine  in 
Egypt'  (signed  and  dated  1644)  in  the  Dresden 
Gallerj' — a  good  example  of  his  historical  pictures. 
Breenbergh  also  etched  several  plates  from  his 
own  designs  with  great  spirit  and  intelligence  ; 
they  are  highly  esteemed,  and  good  impressions  of 
them  are  now  scarce.  He  usually  marked  his 
plates  with  the  initials  of  his  name,  with  an  I',  for 
fecit,  thus,  B.  B.  F.     One  of  his  plates  is  marked 

■with  the  cipher  T^      We  have  by  him : 

Twenty-four  of  Landscapes,  with  Ruins,  Figures,  and 
Animals;  inscribed  I'erschiden  verf alien  Gebouden, 
with  his  portrait. 

Another  set  of  twelve  ;  entitled  Antiquities  of  Rome. 

A  Landscape  ;  marked  with  the  above-mentioned  cipher. 

Joseph  delivering  Corn  in  Egypt ;  inscribed  Erat  fames, 
&c. ;  B.  B.  F. 

The  Martyrdomvof  St.  Laurence ;  same  mark 

BREGEON,  Angelica,  an  ingenious  lady,  was, 
according  to  Basan,   the   wife   of   Jean    Baptiste 
Tillart,   a  French  engraver.      She  executed  some  I 
192 


plates  with  the  point  and  graver,  among  which  is 
a  print  representing  a  youth  drawing,  ^er  Carle 
van  Loo. 

BREKELENKAM,  QniarN,  (or  Bbeklinkam, 
not  Brekelencamp,  nor  Breckelenkamp,)  a  Dutch 
painter,  was  born  probably  at  Swammerdam,  near 
Leyden.  He  was  a  scholar  of  Gerard  Dou,  though 
he  did  not  attach  himself  to  the  high  finishing 
of  that  master,  but  adopted  a  style  formed  on  a 
mixture  of  the  manner  of  Dou  with  that  of  Rem- 
brandt. He  was  established  at  Leyden  in  1648,  in 
which  year  he  was  received  into  the  Guild  of  St. 
Luke,  and  in  that  city  he  spent  the  remainder  of 
his  life.  He  had  two  wives  and  nine  children. 
His  signed  works  extend  from  1653  to  1669.  His 
pictures  represent  the  interior  of  Dutch  cottages, 
with  figures.  There  is  a  very  natural  expression 
in  the  airs  of  his  heads,  his  touch  is  light  and 
spirited,  and  he  was  well  acquainted  with  the  prin- 
ciples of  chiaroscuro.  His  works  are  found  in 
the  choicest  collections  in  Holland,  and  are  held  in 
considerable  estimation  in  this  country.  The  fol- 
lowing are  some  of  his  principal  works : 
Amsterdam.  Museum.    Interior. 

„  „  The  Fire  Comer.     1664. 

„  „  The  Mouse-trap.    166S. 

„  Six  Coll.    The  Three  Ages. 

Augsburg.       Gallery.    The  Coppersmith.     1654. 
Berlin.  Gallery.    The  Vegetable-seller.    1661. 

Brunswick.      Gallery.    Old  Woman  with  Vegetables;  and 

others. 
Paris.  Louvre.      A  Monk  writing. 

„  „  The  Consultation. 

Petersburg.  Mermitage.  A  Hermit.    1660. 

„  „  The  Disappointed  Drinker. 

BREMDEN,  Daniel  van,  who  flourished  at  the 
Hague  in  the  first  half  of  the  17th  century,  was  a 
Dutch  engraver  of  little  note.  He  worked  with 
the  graver  in  a  neat  but  tasteless  style.  There  is 
a  small  plate  by  him  of  '  Ladies  and  Gentlemen 
at  an  Entertainment,'  after  De  Vlieger ;  besides 
some  plates  after  A.  van  der  Venne,  and  some 
portraits. 

BREMOND,  Jean  FEANgois,  a  pupil  of  Ingres 
and  Couder,  was  born  in  Paris  in  1807.  He  pro- 
duced some  excellent  portraits  as  well  as  historical 
pictures.  His  death  occurred  in  Paris  in  1868 
Among  his  paintings  are : 

Portrait  of  his  Daughter. 

St.  Francis  of  Assisi. 

St.  Catharine  of  Alexandria. 

The  Entry  of  Christ  into  Jerusalem. 

Susannah  in  the  Bath. 

BRENDEL,  Heinrich  Albert,  who  was  oom  at 
Berlin  in  1827,  studied  in  the  academj-  of  his  native 
city,  and  under  Wilhelm  Krause.  In  1851  he  went  to 
Paris,  and  studied  under  Couture  and  Palizzi ;  thence 
to  Italy,  and  home  to  Berlin  in  1853,  completing 
his  studies  under  StefEeck.  For  the  next  ten  years 
he  resided  principally  in  Paris,  and  worked  in  the 
summer  months  at  Barbison,  in  the  forest  of  Fon- 
tainebleau,  which  was  also  the  scene  of  the  labours 
of  Millet,  Rousseau,  Diaz,  Troyon,  and  other  sirtists; 
and  he  continued,  till  1869,  to  visit  Barbison  in  the 
summer,  after  he  removed  in  1865  to  Berlin  for 
the  winter.  In  1868  he  was  made  a  member  of 
the  Berlin  Academy,  and  in  1875  became  Professor 
at  the  Art  Scbool'of  Weimar.  He  died  in  1878. 
His  first  works  were  sea-pieces,  but  he  afterwards 
devoted  himself  to  animal  painting  (more  especi- 
ally horses  and  sheep),  in  which  he  was  very  suc- 
cessful. He  received  medals  at  various  exliibitionfl 
at  Paris,  Berlin,  Munich,  Vienna,  and  Nantes. 


PAINTERS  AND  ENGRAVERS. 


Berlin.  Gallery.      Ketnm  to  the  Village. 

Paris.        Luxembourg.   Sheepfold  at  Barbison  (exhibited 
at  the  Salon  in  1863). 

BRENET,  Nicolas  Gdy,  a  French  historical 
painter,  tlie  son  of  Guy  Brenet,  an  engraver,  was 
born  in  Paris  in  1728.  He  was  admitted  into 
the  Academy  in  176.3,  and  became  an  Academician 
in  1769,  on  which  occasion  he  presented  his  picture 
of  'Theseus  finding  the  arras  of  his  father  JEgeus,' 
which,  together  with  his  '  Generosity  of  Bayard,' 
is  now  in  the  Louvre.  There  are  likewise  some 
paintings  by  him  at  Versailles.  He  also  etched 
two  plates,  which  are  now  very  rare.  Brenet  was 
one  of  the  first  masters  of  Baron  Gerard  and  of 
Taunay :  he  was  nominated  assistant-professor  in 
the  Academy  in  1773,  and  professor  in  1778.  He 
died  in  Paris  in  1792. 

BRENNAN,  Michael  G.,  who  was  bom  at 
Sligo,  studied  in  the  schools  of  the  Royal  Dublin 
Society  and  of  the  Hibernian  Society,  and  subse- 
quently in  Italy.  He  exhibited  for  some  years  at 
the  Royal  Academy.  He  died  in  1871  in  Algiers. 
In  the  Dublin  Gallery  are  two  views  at  Capri  by 
him. 

BRENTANA,  Simone,  was  bom  at  Venice  in 
1656,  but  resided  principally  at  Verona.  He 
formed  his  style  by  an  assiduous  study  of  the 
works  of  Tintoretto,  whose  bold  and  vigorous 
manner  he  preferred  to  more  finished  and  laboured 
productions.  To  the  fire  of  Tintoretto  he  added 
Bomething  of  the  dignity  of  the  Roman  school. 
Few  of  his  pictures  are  in  private  collections,  as 
he  was  chiefly  employed  by  the  sovereigns  of  his 
time,  and  for  the  churches.  One  of  his  finest 
pictures  is  '  The  Martyrdom  of  St.  Sebastian,  who  is 
crowned  by  an  Angel,'  in  the  church  dedicated  to 
that  saint. 

BRENTEL,  Feiedeich,  a  German  engraver  and 
miniature  painter,  was  born  at  Laugingen  in  1580, 
and  became  a  citizen  of  Strassburg  in  1601.  His 
principal  work  is  a  set  of  plates  for  '  The  Funeral 
of  Charles  III.,  Duke  of  Lorraine,'  published  at 
Nancy  about  1610.  They  are  from  the  designs  of 
Claude  de  La  Ruelle  and  Jean  La  Hire,  and  are 
etched  in  a  slight,  spirited  manner.  Other  notice- 
able plates  of  his  are  a  '  View  of  the  large  Hall  at 
Stuttgart'  (1619),  and  'John  Frederick  L,  Elector 
of  Saxony  '  (1609).  He  died  at  Strassburg  in  1651. 
The  prints  of  Brentel  are  etched  with  a  very  light 
point ;  and  his  monogram  is  found  on  a  series  of 
landscapes  ornamented  with  historical  subjects  and 
rich  borders,  and  bearing  the  dates  1617  and  1619. 
There  are  proofs  of  these  borders  without  the  land- 
scapes and  figures. 

BRESCIA,  Giovanni  Antonio  da,  was  an  en- 
graver of  the  15th  and  16th  centuries,  and  is  said 
to  have  been  a  brother  of  Giovanni  Maria  da 
Brescia.  It  is  probable  that  he  learned  engraving 
in  the  school  of  Andrea  Mantegna,  as  his  plates 
are  executed  precisely  in  the  style  of  that  artist, 
though  they  are  neater  and  more  finished.  He 
wanted,  however,  his  instructor's  correctness  of 
drawing.     His  attempt  to  imitate  Albrecht  Diirer 

was    without    success.      He    en-  

graved  thirty-seven  plates,  which     ©•  A  ,  D> 
he  signed  with  the  cipher  I    /\    D"^ 

The  following  are  the  most  important : 

The  Virgia  suckling  the  Infant  Jesus;  Jo.  An.  Br. 

The  Virgin  adoring  the  Infant,  St.  Joseph  sleeping; 
iame  mark. 

The  Scourging  of  Christ;  Jo.  Anton.  Brixian.  1503. 
There  are  second  impressions  of  this  plate;  dated 
1509. 


Hercules  and  Antaeus ;  Jo.  An.  Bx. 

Hercules  strangling  the  Lion ;  inscribed  D.  Here,  invicto. 

A  naked  "Woman  and  Child,  with  a  Satyr  playing  on  a 

Pipe ;  marked  1507  ;  Jo.  An.  BX. 
A  white  Horse,  the  same  as  that  engraved  by  Albrecht 

DiiTer;  I.A.  Brix.    1505. 
A  grotesque ;  below,  a  Satyr  and  a  Woman ;  inscribed, 

Victoria  A  ugusia  ;  Jo.  A  n. 
A  Holy  Family,  with  SS.  Elisabeth  and  John ;  after 

Mantegna. 
An  Entombment ;  copy  after  the  same, 
Mary  with  Saints ;  after  Maphael. 

BRESCIA,  Fra  Giovanni  Mabia  da,  was  bom  at 
Brescia  in  the  latter  part  of  the  15th  century.  He 
was  brought  up  a  goldsmith,  a  profession  at  that 
time  connected  with  the  arts ;  and,  after  studying 
painting  and  engraving  for  some  time,  he  became 
a  monk  of  the  order  of  the  Carmelites  at  Brescia, 
and  painted  several  pictures  for  the  church  of  his 
monastery,  and  in  the  cloister  some  fresco  works, 
representing  subjects  from  the  history  of  Elijah 
and  Elisha.  He  also  engraved  some  plates,  which 
are  executed  in  a  manner  that  appears  to  be  a 
feeble  mixture  of  the  style  of  Marc-Antonio  and 
Andrea  Mantegna.  We  have  by  him  the  following 
plates : 

The  Virgin  and  Infant  Jesus,  the  Virgin  holding  a  Book. 

The  Virgin  and  Infant  in  tlie  Clouds  ;  a  circular  plate, 
with  a  Latin  dedication  and  his  name ;  Fr.  Jo.  Ma. 
Brix.  Carmelita  dicavit.     M.D.II. 

St.  Gregory  resuscitating  a  Youth  ;  inscribed  ojnts  Fr. 
Jo.  MariiB  Brixensis  or.  Carnielitaram.     M.CCCCC.II. 

The  History  of  the  Emperor  Trajan ;  on  a  Balcony  at 
the  upper  part  of  the  plate  is  seen  the  Pope,  and  the 
words  Divus  Gregorius  ;  and  at  the  top  opus  Fr.  is  Jo 
3fari(e  Brixensis  or.  Carynelitarum.     M.CCCCC.II. 

Three  Monks  of  the  Order  of  the  Carmelites.     1512. 

BRESCIA,  Leonabdo,  was,  according  to  Barotti, 
a  native  of  Ferrara,  and  flourished  about  the  year 
1530.  There  are  many  of  his  pictures  in  the 
churches  and  convents  of  that  city,  the  most  es- 
teemed of  which  are  '  The  Assumption  of  the 
Virgin,'  in  the  church  of  II  Gesii ;  'The  Annunci- 
ation,' in  the  Madonna  del  buon  Amore  ;  and  '  The 
Resurrection,'  in  Santa  Monica.  It  is  supposed 
that  he  died  in  1598.  Artists  of  the  name  of 
Brescia  are  very  numerous ;  there  are  thirty  so 
named  in  Zani. 

BRESCIANINI  da  SIENA.     See  Puccinelli. 

BKESCIANINO  delle  Battaglie,  II.  See 
Monti,  Francesco. 

BRESCIANO,  GioviTA,  called  Beescianino,  is 
said  by  Cozzando  to  have  been  a  native  of  Brescia, 
and  a  scholar  of  Lattanzio  Gambara.  He  was  a 
reputable  historical  painter,  both  in  oil  and  in 
fresco.     He  flourished  about  the  year  1580. 

BRESCIANO,  Gib.    See  Savoldo,  also  Muziano. 

BRESCIANO,  PiETRO.     See  Avogadbo. 

BRESCIANO,  ViNC.     See  Foppa. 

BRESSANO,  Gib.     See  Mdziano. 

BRETEUIL,  Jacqoes  Lauee,  Comte  de,  a  French 
nobleman,  was  a  great  amateur  of  the  arts,  who, 
according  to  Basan,  between  1730  and  1750,  etched 
several  plates  after  Berchem  and  other  masters. 

BRETHERTON,  Charles,  the  son  of  James 
Bretherton,  was  bom  about  the  year  1760.  At  an 
early  age  he  gave  proof  of  the  most  promising 
talents  as  a  designer  and  engraver.  He  executed 
several  plates  of  portraits  for  Walpole's  'Anec- 
dotes,' as  well  as  views  and  landscapes,  which 
possess  great  merit ;  and  he  produced  some  charm- 
ing drawings  of  his  own  composition,  one  of  which, 
representing  '  Kate  of  Aberdeen,'  was  engraved  by 
Tomkins.     He  died  at  an  early  age  in  1783. 

193 


A  BIOGRAPHICAL  DICTIONAEY  OF 


BRETHERTON,  James,  an  English  engraver, 
distinguished  himself  by  several  etchings  and 
plates  in  aquatint,  from  the  designs  of  H.  W. 
Bunbury,  and  other  masters,  as  well  as  from  his 
own  compositions.  His  works  are  dated  from  1770 
till  1790. 

BRETON,  Francois  Pierre  Hippolyte  Ernest, 
a  French  artist  and  archseologist,  was  born  in  Paris 
in  1812.  He  studied  under  Regnier,  Watelet,  and 
Champin,  and  exhibited  some  landscapes  at  the 
Salon.  He  contributed  to  Gailhabaud's  '  Monu- 
ments anciens  et  modernes,'  and  in  1843  published 
'  Monuments  de  tons  les  Peuples.'  His  latest 
works  were  '  Pompeia,'  1855 ;  '  Athenes,'  1861 ;  and 
'  L'Alhambra,'  1873.     He  died  in  Paris  in  1875. 

BRETSCHNEIDER,  Andreas,  a  German  en- 
graver, etcher,  and  designer,  was  born  at  Leipsic 
about  1578,  and  was  working  there  up  to  1640. 
Among  his  best  engravings  may  be  cited : 

A  Nobleman  in  Spanish  clothing. 

Christ  on  the  Cross.     1601. 

Gustavus  Adolphus  on  horseback. 

Eleven  views  of  the  Festivities  at  Dessau  in  1614. 

Thirty  woodcuts  of  BibUcal  Representations. 

BRETSCHNEIDER,  Johann  Michael,  who  was 
born  at  Aussig,  in  Bohemia,  worked  at  Prague  in 
the  early  part  of  the  eighteenth  century.  A 
'  Musical  Entertainment '  by  him  is  in  the  Pinako- 
thek  at  Munich. 

BRETT,  John,  marine  painter,  born  in  1830. 
He  was  greatly  influenced  in  early  life  by  the 
writings  of  Ruskin,  and  the  whole  Pre-Raphaelite 
movement,  as  exhibited  in  his  works,  '  The  Stone- 
breaker,'  shown  in  1858,  and  '  The  Val  D'Aosta,' 
in  the  following  year.  After  1870  he  turned  his 
attention  to  the  sea-shore  of  the  south  of  England, 
producing  luminous  skies  and  calm  seas.  Among 
his  most  powerful  works  we  can  name, '  Spires  and 
Steeples  of  the  Channel  Isles '  (1875),  '  Mount's 
Bay '  (1877),  '  Cornish  Lions  '  (1878),  and  '  Britan- 
nia's Realm,'  bought  by  the  Academy  in  1880. 
His 'Sere  and  Yellow  Leaf  was  exhibited  in  1895, 
and  he  died  in  1902.  p  p 

BRETT,  Joseph  William,  the  son  of  a  clergy- 
man, was  born  in  1816.  He  was  one  of  the  com- 
petitors for  the  decoration  of  the  Houses  of  Par- 
liament, and  sent  in  a  cartoon  of  '  King  Richard 
forgiving  the  Soldier  who  shot  him,'  which  was 
unsuccessful.  He  died  by  his  own  hand  at  Chelsea 
in  1848. 

BREU,  JoRO  (or  Brew,  or  Prew), — who  flourished 
at  Augsburg  from  about  1512  to  1530,  and  died 
there  in  1536, — was  a  painter  and  draughtsman  on 
wood,  whose  style  was  influenced  by  Hans  Burck- 
mair.  A  Madonna  and  Child  by  him  (formerly 
wrongly  ascribed  to  Burckraair)  is  in  the  Berlin 
Gallery ;  it  is  signed  with  his  monogram,  and  bears 
the  date  1512  ;  and  the  '  Battle  of  Zama,'  by  him, 
is  in  the  Pinakothek  at  Munich. 
BREUGHEL.  See  Brueghel. 
BREDIL.     See  Dubreuil. 

BREUKELAAR,  Hendbik,  a  Dutch  artist  of 
great  promise,  was  born  at  Amsterdam  in  1809, 
and  was  instructed  by  C.  and  J.  A.  Kruseman.  He 
painted  the  picture  of  '  Van  Speyk  at  the  tomb  of 
De  Ruyter,'  and  others,  which  gained  him  the 
applause  of  his  countrymen.  His  works  are  not 
numerous,  owing  to  his  early  death,  which  occurred 
in  1839. 

BREVIl^RE,  Louis  Henri,  bom  at  Forges-les- 
Eaux  in  1797,   was  a  French  wood-engraver,  to 
whom  is  due  the  honour  of  having  revived  the  art 
I  j4 


of  wood-engraving,  which  had  been  neglected  in 
France  since  the  17th  century.  His  works  number 
about  3000,  and  among  them  may  be  especially 
noticed  the  Palais  de  Gaillon,  the  arch  of  the  Gros- 
Horloge  at  Rouen,  and  his  engravings  from  the 
designs  of  Chenavard,  Grandville,  Meissonier, 
Descamps,  Fragonard,  Girardet,  Fran5ai8,  Tony 
Johannot,  RafFet,  Dev^ria,  Gavarni,  Gustave  Dorl, 
Bertall,  and  others.     He  died  at  Hyeres  in  1869. 

BREW.     See  Breu. 

BREWTNALL,  Edward  Frederick,  was  bom 
in  1846.  As  a  painter  in  water-colours  he  exhibited 
first  in  1868  at  the  Royal  Society  of  British  Artists 
a  picture  entitled  '  Post  Time.'  The  following 
year  appeared  'Missing,'  and  in  1872  'Chestnuts.' 
He  was  elected  a  member  of  that  Society  in  1882. 
He  made  his  first  appearance  at  the  exhibitions  of 
the  Royal  Society  of  Painters  in  Water-Colours  in 
1875  witli  four  pictures,  and  in  1883  became  a  full 
member  of  the  Society.  His  pictures  there  ex- 
hibited include — 'When  Love  was  Young'  (1878), 
'  The  Honeymoon '  (1880), '  The  Visit  to  the  Witch ' 
(1882),  '  Blue  Beard's  Wife  '  (1884),  '  The  Ravens' 
(1885),  'Where  to  Next?  '  (1886),  'On  the  Wing' 
(1888),  'The  Red  Fisherman'  (1891),  'The  Shell' 
(1894),  'The  Fisherman  and  the  Genie'  (1897), 
and  '  La  Vie  de  Boheme'  (1900).  He  painted  also 
in  oils,  and  latterly  contributed  to  the  Royal 
Academy  among  others  the  following — '  Merely 
Players'  (1898),  'On  the  Embankment'  (1899), 
and  'The  Inn  by  the  Sea'  (1900).  He  died  in 
1902. 

BREYDEL,  Feans,  was  born  at  Antwerp  in  1679, 
and  was  instructed  by  Rysbraek,  the  landscape 
painter.  He  painted  conversations  and  gallant 
assemblies,  and  also  portraits  of  a  small  size,  agree- 
ably coloured  and  neatly  touched.  He  passed  a 
great  part  of  his  life  at  the  court  of  Hesse-Cassel, 
where  his  works  were  much  esteemed.  He  also 
visited  England.  He  died  at  Antwerp  in  1750. 
The  Dresden  Gallery  has  two  signed  works  by  him. 

BREYDEL,  Karel,  called  '  Cavalier  Breydel,' 
was  a  brother  of  Frans  Breydel,  and  was  born  at 
Antwerp  in  1677.  He  was  also  a  scholar  of  Rys- 
braek, under  whose  instruction  he  remained  three 
years.  He  afterwards  went  to  Italy,  and  on  his 
return  painted  at  Nuremberg,  Frankfort,  Cassel, 
Antwerp,  and  Brussels,  executing  a  number  of 
landscapes,  and  views  of  the  Rhine,  in  the  manner 
of  Griffier.  He  is  more  reputed  as  a  painter  of 
battles  and  attacks  of  cavalry,  which  are  ingeniously 
composed,  and  painted  with  spirit,  after  the  manner 
of  Van  der  Meulen.  The  Museum  of  Brussels  has 
two  '  Cavalry  Skirmishes '  by  him,  and  the  USizi, 
Florence,  two  small  landscapes,  and  the  Cassel 
Gallery  a  '  Paradise'  and  a  landscape.  He  died  at 
Ghent  in  1744. 

BRIARD,  Gabriel,  was  a  landscape  and  por- 
trait painter  of  some  grace  and  facility  of  hand, 
the  master  of  Demarne,  and  the  father  of  Mme. 
Le  Brun.  He  visited  Italy  in  1749,  became  an 
Academician  in  1768,  and  died  in  1777. 

BRICART,  Claude,  a  French  engraver,  who 
flourished  about  1730.  He  executed  several  plates 
after  J.  B.  Santerre  and  others. 

BRICCIO.     See  Brizzi. 

BRIDELL,  Frederick  Lee,  was  bom  at  South- 
ampton in  1831.  He  very  early  showed  a 
talent  for  painting,  and  at  the  age  of  fifteen 
began  life  in  his  native  town  as  a  portrait  painter. 
Some  of  his  works  attracted  the  notice  of  a  picture- 
dealer,  who  first  employed  him  to  reproduce  por- 


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PAINTERS  AND  ENGRAVERS 


traits,  and  then  sent  him  to  Munioli  and  other 
continental  cities  to  copy  the  works  of  the  great 
masters.  On  his  return  to  England  he  sent,  in 
1851,  a  picture,  '  A  Bit  of  Berkshire,'  to  the  exhi- 
bition of  the  Royal  Academy.  This  was  followed 
by  '  Mountains  of  the  Tyrol '  in  1856.  Soon  after- 
wards he  went  to  Rome,  where  he  married  in  1858 
the  daughter  of  Mr.  W.  J.  Fox,  at  that  time 
member  for  Oldham,  a  lady  of  much  artistic  talent. 
In  the  following  year  he  exhibited  his  finest  work, 
'  The  Coliseum  by  Moonlight,'  which  was  after- 
wards included  in  the  International  Exhibition  of 
1862.  His  other  important  paintings  were  '  The 
Temple  of  Love,'  from  Spenser's  '  Faerie  Queene,' 
and  '  Sunset  on  the  Atlantic'  Ue  worked  with  too 
much  energy,  and  died  of  consumption  in  1863. 
After  his  death  forty  of  his  best  paintings  were 
sold  at  Christie's,  some  of  them  realising  £1000 
each. 

BRIDGFORD,  Thomas,  an   Irish  portrait   and 
subject  painter,  was  born  at  Dublin  in  1812.     He 
studied  and  for  a  short  time  painted  portraits  in 
London,    and  for  many  years  exliibited  portraits 
and  figure  subjects  at  the   Royal  Academy  (W. 
Mulready,  R.A.,  and  A.  Cooper,  R.A.,  in  184'2). 
In  1844  he  returned  and  settled  at  Dublin,  where 
he  became  a  member  of  the  Hibernian  Academy. 
He  died  on  the  21st  November,  1878.   Amongst  his 
works  are  : 
The  Arrest  of  Sir  H.  Slingsby. 
An  Irish  Wake. 
The  Deserter. 
Golden  Moments. 
Passing  Shadows. 

BRIERLY,  Sir  Oswald  Walter,  marine  painter, 
son  of  a  doctor  was  born  at  Chester  on  the  19th  of 
May,  1817.  He  left  the  Academy  of  Henry  Sass  in 
Bloomsbury  to  study  shipping  at  Plymouth, exhibit- 
ing first  at  the  Royal  Academy  in  1839.  Two 
years  later  he  started  round  the  world,  settling  for 
some  years  at  Auckland.  In  1851  he  returned  to 
England  and  accompanied  the  Allied  fleets  to  the 
Baltic,  and  the  Prince  of  Wales  on  his  Nde  tour. 
He  also  sailed  with  the  Duke  of  Edinburgh  in 
1867-8,  on  the  Galatea's  trip  round  the  world. 
'  Blake  going  on  the  Resolution '  is  his  greatest 
work.  He  ceased  exhibiting  at  the  Academy  in  1872, 
when  elected  member  of  the  Royal  Water-Colour 
Society.  Appointed  Marine  Painter  to  Queen 
Victoria  in  1874,  he  became  Curator  of  the  Pamted 
Hall  at  Greenwich  in  1881,  was  knigiited  in  1885, 
and  died  in  London,  14th  December,  1894. 

BRIG6S,  Henky  Perronet,  was  born  at  Wal- 
worth in  1792,  or  1791.  He  was  related  to  the  wife 
of  John  Opie,  and,  possibly  through  his  influence, 
entered  the  Academy  Schools  at  an  early  age.  In 
1814  he  exhibited  his  first  portrait  at  the  Academy. 
Four  years  later  he  attempted  an  historical  picture, 
'  Lord  Wake  setting  fire  to  his  Castle  to  prevent  a 
visit  from  Henry  VIII.,'  and  soon  afterwards 
'Othello  relating  his  Adventures.'  In  1826  he  ex- 
hibited '  The  First  Conference  between  the  Spaniards 
and  Peruvians,  1531,'  and  in  1827,  'Juliet  and  her 
Nurse,'  both  of  which  are  now  in  the  National 
Gallery.  He  was  elected  an  Associate  of  the 
Academy  in  1825,  and  was  made  an  Academician 
in  1832.  Henceforth  his  talent  was  so  much  in 
demand  for  portraiture  that,  against  his  own 
wishes,  he  abandoned  historical  painting  in  favour 
of  that  more  lucrative  art.  One  of  his  finest  works 
is  '  Lord  Eldon  receiving  the  Degree  of  D.C.L.  at 
Oxford.'    He  died  in  London  in  1844.    His  picture 

0  2 


of  '  George  III.  presenting  the  sword  to  Earl  Howe, 
OB  board  the  "  Queen  Charlotte,"  1794,'  painted  in 
1827,  is  now  in  Greenwich  Hospital. 

BRIGHT,  Henry,  was  born  at  Saxmundham, 
Suffolk,  in  1814.  He  was  at  first  apprenticed  to  a 
chemist  at  Woodbridge,  and  afterwards  became 
dispenser  in  the  Norfolk  and  Norwich  Hospital. 
Here,  having  fallen  in  with  John  Bemay  Crome, 
Cotman,  and  others  of  the  Norwich  School,  he 
threw  up  his  appointment,  and  entering  on  art  as  a 
profession,  went  to  London,  where  he  was  soon 
after  elected  a  member  of  the  New  Society  (now 
called  the  Institute)  of  Water-Colour  Painters,  and 
became  acquainted  with  some  of  the  then  leading 
artists — Stanfield,  David  Cox,  Prout — and  other 
celebrated  men.  He  painted  in  oil  as  well  as 
water-colours,  exhibiting  in  the  former  medium 
for  the  first  time  at  the  Royal  Academy  in  1845. 
His  pictures  display  great  breadth  and  richness  of 
colour,  especially  those  depicting  the  banks  of 
rivers.  His  snow  scenes,  of  which  he  executed 
several,  are  very  carefully  painted.  He  died  at 
Ipswich  in  1873. 

BRIGSTOCKE,  Thomas,  first  studied  in  Sass's 
studio,  then  in  the  Royal  Academy  Schools,  and 
under  H.  P.  Briggs,  and  subsequently  under  J.  P. 
Knight.  He  also  studied  at  Paris,  Florence,  Rome, 
and  Naples,  during  eight  years.  He  exhibited  his 
first  picture,  '  AInaschar,  the  Barber's  fifth  Brother,' 
at  the  Royal  Academy  in  1842.  Five  years  later 
he  went  to  Egypt  with  a  letter  of  introduction  to 
Mohammed  Ali  Pasha,  by  whom  he  was  kindly 
received,  and  well  employed  in  painting  portraits 
of  himself  and  his  family.  There  Brigstocke  spent 
sixteen  months  painting  chiefly  at  the  Palace  of 
Shoubra,  on  the  Nile,  near  Cairo,  and  at  Ras  el  Tin, 
Alexandria.     His  chief  portraits  are  : 

General  Sir'Wm.  Nott,  in  the  Town  Hall  of  Calcutta. 
„         „       „         „     in  the  Town  Hall  of  Carmarthen. 
„         „       „         „     in  the  Oriental  Club,  London. 
Mohammed  Ali,  in  the  Palace  of  the  Citadel,  Cairo. 

„  „  in  the  Palace  of  Ras  el  Tin. 

„  „  in  the  Oriental  Club,  London. 

Cardinal  'WisomaQ,        in  St.  Cuthbert's,  near  Durham. 
General  Sir  J.  Outram,  in  the  Oriental  Club,  London. 
Sir  Hy.  Holland,  M.D. 

He  also  painted  an  historical  picture,  entitled  the 
'  Prayer  for  Victory.'  All  the  above  pictures  were 
exhibited  at  the  Royal  Academy.  Brigstocke  died 
in  1881,  aged  seventy-two. 

BRIL,  Matthys,  was  born  at  Antwerp  about 
1548.  It  is  not  known  under  whom  he  studied, 
but  he  went  to  Italy  during  the  pontificate  of 
Gregory  XIII.,  by  whom  he  was  employed  in  the 
Vatican,  where  he  painted  in  fresco  several  land- 
scapes, and  had  a  pension  settled  on  him  by  that 
pontiff.  He  would  probably  have  reached  a  high 
rank  in  the  list  of  landscape  painters,  but  he  died 
in  the  prime  of  life  at  Rome  in  1584.  The  Louvre 
has  two  'Stag  Hunts'  by  him,  and  the  Dresden 
Gallery  has  also  two  landscapes  with  sulijeils. 

BRIL,  PAUL0S,  the  younger  brother  of  Matthys 
Bril,  was  born  at  Antwerp  in  1556.  He  was 
first  instructed  in  the  art  by  Damiaen  Ortelmans, 
and  was  himself  employed  in  painting  the  tops 
of  harpsichords,  which  were  usually  so  ornamented 
at  that  period.  The  fame  which  his  brother  had 
acquired  in  Italy  inspired  him  with  the  emulation 
of  equalling  him  in  reputation ;  and  he  thought 
the  most  probable  means  of  success  was  to  imitate 
liis  example,  and  to  follow  him  to  Italy.  Passing 
through    France,    he    was    under    the    necessity 

195 


A  BIOGRAPHICAL  DICTIONARY  OF 


of  stopping  at  Lyons  to  recruit  hia  exhausted 
finances  by  the  exercise  of  his  talent,  and  having 
succeeded,  he  at  length  reached  Rome,  and  placed 
himself  under  the  instruction  of  his  brother.  But 
his  best  studies  were  made  from  the  landscapes  of 
Titian,  some  of  which  he  had  an  opportunity  of 
copjing,  and  he  began  to  distinguish  himself  by  a 
style  which,  though  founded  on  the  great  principles 
of  that  master,  was  sufficiently  original  to  be  con- 
sidered as  his  own.  For  some  time  he  assisted  his 
brother  in  his  works  in  the  Vatican,  and  on  the 
death  of  that  artist,  the  pension  of  the  Pope  was 
continued  to  Paulus ;  and,  according  to  Baglioni, 
on  the  succession  of  Sixtus  V.  he  was  engaged  in 
some  considerable  works  in  the  Sistine  Chapel,  in 
Santa  Maria  Maggiore,  and  in  the  Scala  Santa  in 
San  Giovanni  in  Laterano.  He  was  not  less 
patronized  by  Pope  Clement  VIII.,  by  whose 
direction  he  painted  his  prodigious  work  in  the 
Sala  Clementina,  a  landscape  of  grand  scenery, 
sixty-eight  feet  wide,  in  wliich  is  introduced  the 
subject  of  St.  Clement,  with  an  anchor  fastened  to 
his  neck,  thrown  into  the  sea.  He  also  painted 
easel  pictures  of  landscapes,  some  of  which  Anni- 
bale  Carracci  occasionally  embellished  with  his 
admirable  figures.  Bril  died  at  Rome  in  1626.  The 
following  are  some  of  his  best  paintings : 

The  Euins. 
The  Prodigal  Son. 
Landscapes  (four). 
Landscapes  {two). 
A  Sea-piece. 
Landscapes  {nine). 
Landscapes  {two). 
Landscapes  (four). 
Landscapes  (ttro). 
Landscapes  {fiyht). 
Landscapes  (two). 
Landscapes. 

Paulus  Bril  etched  several  landscapes  in  a 
masterly  and  spirited  style,  four  of  which  are  in 
the  set  published  by  his  scholar  Nieulandt.  We 
have  by  him  the  following  prints : 

Four  Landscapes  in  the  set  published  by  Nieulandt. 
Two  Landscapes  ;  marked  Paulus  Bril,  inv.  et  fee,  kc. 
A  View  in  the  Campagna,  with  Buius ;   P.  Bril  fee 

159C. 
Another  View  in  the  same ;  the  companion. 

BRILLON,  — ,  was  a  native  of  France,  and, 
according  to  Basan,  engraved  several  plates  after 
Watteau  and  other  French  painters. 

BRLNCKMANN,PHiLiPPHiEKONYMns,(orBRlNK- 
MAN,)  a  German  painter  and  engraver,  was  born  at 
Spires  in  1709.  He  was  a  pupil  of  J.  G.  Dathan. 
His  favourite  subjects  were  landscapes,  but  he  also 
painted  historical  subjects  and  portraits ;  in  some 
of  the  latter  he  imitated  the  force  and  colouring  of 
Rembrandt.  He  was  painter  to  the  Court,  and 
keeper  of  the  Gallery  at  Mannheim,  where  he  died 
in  1761.  In  the  Stiidel  at  Frankfort  is  a  'Swiss 
Landscape'  signed  P.  H.  Brinckmann  fecit,  1745. 
He  etched  some  plates  in  a  picturesque  and 
spirited  style.  The  following  are  his  principal 
prints: 

PhiUpp  Hieronymus  Brintman ;  se  ipse  fee. 

David  with  the  Head  of  Goliath.    1741. 

The  Death  of  Pyramus. 

The  Repose  in  Egypt ;  Rembrandt  inv. ;  Srinkmanfec. 

The  Resurrection  of  Lazarus  ;  Brinkmanfec. 

Mary  Magdalene  at  the  Feet  of  our  Saviour. 

Christ  and  the  Samaritan  Woman. 

The  Presentation  in  the  Temple ;  P.  J.  Brinkman  inv. 

et  fee. 
Six  pleasing  Landscapes  ;  Pk.  Britik.  del.  etfec. 
196 


Amsterdam. 

Galleri/. 

Antwerp 

„ 

Berlin. 

Dresden. 

^, 

Florence. 

Uffizi. 

Pitii  Pal. 

Madrid 

Gallery. 

Munich. 

Gallery. 

Paris. 

Louvre. 

Petersburg. 

Hermitage 

Rome. 

Palaces. 

BRION,  Gust  AVE,  was  born  at  Rothau  in  the 
department  of  the  Vosges  in  1824,  and  in  1841 
entered  at  Strassburg  tlie  studio  of  Gabriel  Guerin, 
with  whom  he  remained  three  years ;  he  also 
received  tuition  from  Andreas  Friedrioh,  the 
sculptor ;  but  he  soon  afterwards  went  to  Paris, 
where  his  first  work  appeared  at  the  Salon  in  1847 ; 
it  was  entitled  '  Interior  of  a  Farm  at  Dambach.' 
Six  years  later  he  gained  a  medal  of  the  second 
class  for  his  '  Sshlitteurs  de  la  Foret-Noire  '  and  the 
'  Potato  Harvest  during  an  Inundation,'  the  former 
of  which  was  subsequently  burned  at  Strassburg 
by  the  Prussians.  His  fame  was  further  estab- 
lished by  his  '  Le  Train  de  Bois  sur  le  Rhin '  in 
1855,  and  from  that  time  his  works  continued  to 
increase  in  public  favour,  and  gained  considerable 
praise  and  recompense  for  their  author.  Brion 
received  numerous  medals  in  1853,  1863,  1867, 
1868,  &c.,  and  the  decoration  of  the  Legion  of 
Honour  in  1863.  He  died  in  Paris  in  1877.  With 
few  exceptions,  such  as  the  '  Siege  of  a  Town  by 
Romans  under  Julius  Caesar,'  painted  on  commis- 
sion for  Napoleon  III.,  and  at  the  cost  of  much 
research  to  the  artist,  Brion  rarely  indulged  in 
historical  subjects.  He  delighted  to  represent 
peasants  in  their  natural  avocations :  here  they 
gather  in  their  potatoes  or  chat  by  the  village 
well ;  there  they  conduct  barges  laden  with  wood 
down  the  river ;  now  we  see  them  at  a  marriage, 
now  hearing  mass  or  attending  a  burial.  Putting 
aside  several  subjects  drawn  from  Normandy  and 
Brittany,  from  the  Basque  Provinces,  and  from  a 
stay  in  Italy,  Brion  remained  true  to  his  love  of 
Alsace,  and  it  is  of  the  doings  of  her  peasantry 
that  he  tells  us  in  his  paintings.  The  following 
are  his  principal  works : 


Salon, 


Paris  Exhibition, 


Salon, 


1847 
1853 
1852 

1855 


Interior  of  a  Farm  at  Dambach, 
'  SchUtteurs  '  of  the  Black  Forest, 
Potato  Harvest  during  an  Immdation, 
Wood-Barge  on  the  Rhine  ) 
{engraved  by  Jazet)  y 
Burial  in  the  Vosges,  „ 

*  La  Fete-Dieu,'  „ 

The  Miraculous  Well,  „ 

Mountebank  in  the  Middle  Ages, 
Gathering  Potatoes  {in  the  Nantes  Museum), 
A  Church  Porch,  „ 

Burial  on  the  Rhine,  „ 

The  Skittle-Players,  „ 

A  Protestant Mamage in  Alsace  (etehedby  Kajon)  „ 
The  Wedding  Feast  {etched  by  Bellin),  „ 

The  Blessing,  .  London  Exhibition, 

The  Pilgrims  of  St.  Odile,  Salon, 

The  End  of  the  Deluge,  „ 

'  La  Qui^te  au  Loup,'  tt 

Reading  the  Bible  in  Alsace,  „ 

A  Wedding  in  Alsace,  „ 

First  Steps,  „ 

The  Reveil,  Encampment  of  Pilgrims,  „ 

Brion  also  illustrated  '  Les  Miserables '  of  Victor 
Hugo,  and  '  Notre-Dame  de  Paris  '  (see  '  Flemish 
and  French  Pictures,'  by  F.  G.  Stephens). 

BRIOT,  Antoine,  a  French  engraver,  flourished 
in  the  latter  part  of  the  17th  century.  He  engraved 
a  set  of  different  habiliments,  from  the  designs 
of  St.  Igny. 

BRIOT,  Isaac,  a  French  engraver  and  draughts- 
man, was  born  in  1585,  and  died  in  Paris  in  1670. 
His  plates  are  rather  neatly  executed,  in  the  style 
of  Wierix  and  mostly  from  his  own  compositions, 
but  the  drawing  is  defective.  The  following  may 
be  noticed : 

rOBTRAITS. 
Cardinal  de  Richeheu. 
Cardinal  d'Amboise,  archbishop  of  Rouen. 


1857 
1859 

»» 

1861 

1862 
1863 
1864 
1864 
1863 
1874 
1876 
1877 


PAINTERS  AND  ENGRAVERS. 


Saspard,  Comte  de  Coligny. 

Tbe  poet  Francois  Malherbe,  in  4to. 

The  poet  Marini,  in  4to. 


SUBJECTS. 
The  Alliance  of  France  with  Spain. 
St.  John  the  Baptist  in  the  Deserl. 
St.  Peter  weeping. 
L'Oraison  dominicale  eipliqu^e  par  des  emblemes.    Two 

small  plates. 
The  Virtues.    Seven  small  plates. 
The  Sibyls.     A  set  of  smaU  circular  plates. 
Ovid's  'Metamorphoses.'    A  set  of  plates  published 

1637. 

Marie  Bbiot,  daughter  of  Isaac,  with  her  father, 
executed  plates  after  Paul  de  La  Barre,  J.  B. 
Coriolan,  St.  Igny,  and  others. 

BRISEGHELLA.     See  Eismann  Briseghella. 

BRISSART,  P.,  was  a  native  of  France,  and 
flourished  about  the  year  1670.  We  have  by  him 
a  large  print,  representing  a  bird's-eye  view  of  the 
royal  palace  of  Vincennes,  from  his  own  design. 
It  is  etched  in  a  slight,  neat  style,  but  without 
much  effect.  He  also  engraved  several  plates 
from  the  works  of  Jean  Baptiste  Santerre. 

BRISTOW,  Edmdnd,  an  animal  painter,  was  born 
at  Windsor  in  1787.  He  exhibited  his  works  on  one 
occasion  only,  viz.,  at  the  British  Gallery.  He 
was  of  an  eccentric  character,  and  little  is  known 
concerning  him.  Some  of  his  works  are  in  the 
possession  of  the  Queen,  but  a  greater  number 
belong  to  Mr.  H.  Ingalton,  of  Ventnor.  He  died 
at  Eton  in  1876. 

BRITANO.     See  Ghisi,  Giov.  Batt. 

BRITTON,  John,  who  became  celebrated  as  an 
architectural  draughtsman,  was  born  in  1771  at 
Kingston  St.  Michael,  in  Wiltshire,  where  he  passed 
the  first  few  years  of  his  life,  attending  the  village 
school  and  assisting  his  father,  who  kept  a  general 
shop.  In  1787  he  went  to  London.  In  1799  he 
exhibited  some  architectural  drawings  at  the  Royal 
Academy,  and  in  1801  he  pubhshed  the  '  Beauties 
of  Wiltsliire,'  in  two  volumes,  in  which  work  he 
was  assisted  by  Brayley.  This  was  followed  by 
the  '  Beauties '  of  all  the  other  counties,  the 
whole  work  being  completed  in  twenty-six  volumes, 
which  took  him  twenty  years  to  produce.  In  1805 
he  commenced  his  'Architectural  Antiquities  of 
Great  Britain,'  which  was  completed  in  five  quarto 
volumes,  containing  360  engravings.  This  was 
followed  by  his  'Catliedral  Antiquities  of  England,' 
in  fourteen  volumes,  folio  and  quarto,  with  300 
engravings  (1814—1835).  In  1825,  in  conjunction 
with  Augustus  Pugin,  he  commenced  '  The  Archi- 
tectural Antiquities  of  Normandy,'  and  in  1829  a 
'Dictionary  of  Architecture  and  Archeology  of 
the  Middle  Ages,'  besides  several  smaller  books, 
including  works  on  Norwich,  York,  Canterbury, 
and  other  calhednils.  He  also  contributed  articles 
on  British  topography  to  Rees's  '  Encyolopsedia.' 
From  1845  till  shortly  before  his  death  he  was 
occupied  upon  his  '  Autobiography,'  which  had 
nearly  approached  completion  when  he  died  in 
1857,  in  London. 

BRIXIA.     See  Brescia. 

BRIZE,  CoRNELis,  a  Dutch  painter  of  still-life, 
was  born  at  Haarlem  in  1635.  His  pictures  repre- 
sent musical  instruments,  books,  papers,  &c., 
grouped  in  an  ingenious  manner,  and  painted 
with  such  uncommon  truth  that  they  become 
interesting,  notwithstanding  the  insignificance  of 
the  subjects.  He  also  painted  armour,  and  imita- 
tions of  bas-reUefs,  but  his  pictures  of  the  former 


subjects  are  most  esteemed.  He  died  at  Haarlem 
in  1679. 

BRIZIANO.    See  Ghisi,  Giov.  Batt. 

BRIZIO,  Menechino  del,  (or  Brizzi).  See 
Ambrogi,  Dom. 

BRIZZI,  FiLlPPO,  (or  Briccio,)  the  son  of  Fran- 
cesco Brizzi,  and  scholar  of  Guido,  was  born  in 
1603.  In  the  church  of  San  Silvestro  at  Bologna 
is  an  altar-piece  by  Brizzi,  representing  '  The  Virgin 
Mary,  with  St.  John  the  Baptist  and  St.  Silvester ; ' 
and  in  San  Giuliano  is  a  picture  painted  by  him  of 
'  St.  Giuliano  crowned  by  Angels.'  The  Modena 
Gallery  has  an  '  Eoce  Homo.'     He  died  in  1675. 

BRIZZI,  Francesco,  (or  Briccio,)  called  Nosa- 
DELLA,  an  Italian  painter  and  engraver,  was  born  at 
Bologna  in  1574.  He  studied  at  first  under  Barto- 
lommeo  Passerotti,  but  was  afterwards  admitted 
into  the  school  of  Lodovico  Carracci.  In  archi- 
tecture, perspective,  and  landscape  he  surpassed 
all  his  fellow-disciples.  He  approached  Lodovico 
more  closely  than  any  other  artist.  The  graceful 
beauty  of  his  cherubs  excites  admiration ;  and 
here,  in  the  opinion  of  Guido,  he  outshone  even 
Bagnaoavallo.  In  the  Pinacoteca  at  Bologna  are 
a  '  Madonna  and  Child '  and  a  '  Bacchus  and 
Ariadne '  by  him.  In  engraving  he  was  instructed 
by  Agostino  Carracci,  and  he  is  said  to  have  for- 
warded some  of  the  plates  of  that  master.  His 
own  prints,  though  nearly  equal  to  Agostino's  in 
point  of  execution,  are  very  inferior  in  correctness 
of  drawing,  and  in  beauty  of  expression.  He 
died  at  Bologna  in  1625.  The  following  are  his 
principal  works  as  an  engraver : 

A  large  Landscape,  from  his  own  design. 

St.  Koch  ;  after  Parmigiano, 

The  Holy  Family  ;  after  Correcfijio. 

The  Return  out  of  Bgypt ;  after  Lod.  Carracci. 

Portrait  of  Cinthio  Aldobrandini ;  after  L,  Carracci. 

A  Frontispiece  ;  inscribed  Explicatione  del  sacro  lenzuolo. 

1599 ;  after  the  same  ;  scarce. 
Another  Frontispiece ;   inscribed    Tempio  al   Cardinale 

Cinthio  Aldohrandini.     1579;  after  the  same. 
Another  Frontispiece,  with  the  Arms  of  the  Duke  of 

Modena,  and  in  the  middle  some  Children ;  after  the 

same.     1594  ;  very  scarce. 
St.  Francis  kneeling,  holding  the  Infant  Jesus,  and  the 

Virgin  Mary  in  the  Clouds  ;  after  the  same. 
The  Virgin  Mary  crowned,  with  the  Infant  Jesus,  and 

two  Angels  ;  after  L.  Carracci. 
The   great  St.  Jerome;   the   plate  left   imperfect   by 

Agostino  Carracci^  finished  by  Brizzi. 
Clirist  and  the  Samaritan  Woman  ;  after  Ag.  Carracci, 

1610. 
A     Bhnd     Man    led     by    a    Dog ;     after     Annibale 

Carracci. 

BROCANDEL.     See  Rovira. 

BKOCAS,  Henry,  born  at  Dublin  in  1766,  was 
well  known  as  a  landscape  painter  and  as  a  draw- 
ing-master in  the  Dublin  schools.  He  died  in 
1838,  leaving  three  sons,  Henry,  Samuel,  and 
William,  who  all  followed  art  as  a  profession  in 
Dublin. 

BROCKEDON,  William,  was  born  at  Totnes, 
Devonshire,  in  1787.  He  became  a  student  at  the 
Royal  Academy  in  1809,  and  in  1815  went  to 
Paris  to  improve  himself  by  paititing  at  the  Louvre. 
On  his  return  he  painted  a  picture  on  the  subject 
of  'The  Acquittal  of  Susannah.'  which  lie  presented 
to  his  native  county,  and  which  is  now  in  the 
Crown  Court  at  Exeter.  He  next  painted  '  Christ 
raising  the  Widow's  Son,'  for  which  he  was  awarded 
a  prize  of  one  hundred  guineas  by  the  directors  of 
the  British  Institution.  During  his  stay  at  Rome, 
in  1822,  he  painted  'The  Vision  of  the  Chariots  to 
Zechuriah,'  which,  by  the  Pope's  permission,  was 

197 


A  BIOGRAPHICAL  DICTIONAKY  OF 


exhibited  in  the  Pantheon.  He  afterwards  pub- 
lished various  series  of  Landscapes,  from  sketches 
taken  in  his  travels,  as  '  The  Passes  of  the  Alps,' 
'  Illustrated  Road-Book  from  London  to  Naples,' 
'Excursions  in  the  Alps,'  and  'Murray's  Hand- 
book for  Switzerland. '  He  last  exhibited  at  the 
Royal  Academy  in  1836.  He  displayed  no  ordin- 
ary talent  in  the  various  departments  of  painting — 
historical,  landscape,  and  portrait,  which  he  com- 
bined in  his  practice.  He  died  in  London  in  1854. 
He  was  a  Fellow  of  the  Royal  Society,  and  member 
of  the  Academies  of  Rome  and  Florence.  His 
portrait,  by  his  own  hand,  is  in  the  UfEzi ;  and  a 
view  of  Laodicea,  by  him,  is  in  the  South 
Kensington  Museum. 

BROCKY,  Charles,  who  was  bom  at  Banat,  in 
Hungary,  in  1808,  was  the  son  of  a  hairdresser, 
who  died  whilst  his  son  was  still  young.  To  gain 
a  living  the  youth  joined  a  body  of  strolling  actors. 
After  passing  through  many  vicissitudes,  he  was 
at  length  placed  in  a  free  drawing  school  at  Vienna, 
whence  he  went  to  Paris,  where  he  studied  at  the 
Louvre.  When  about  thirty  years  of  age  he  visited 
London,  where  he  took  up  his  abode.  His  first 
contribution  to  the  Royal  Academy  was  in  1839, 
and  from  tliat  time  he  exhibited  portraits,  ideal 
subjects,  and  miniatures  on  ivory  somewhat  fre- 
quently;  amongst  others  a  'Nymph'  (in  oil)  in 
1850,  and  '  Spring,'  '  Summer,'  '  Autumn,'  and 
'Winter'  in  1852.  He  died  in  1855.  A  sketch 
of  his  life  by  Norman  Wilkinson  was  published  in 
1870. 
BROECK,  B.,  C,  and  E.  van  den      See  Van 

DEN  BrOECK. 

BROECK,  Moses  Vyt  den,  or  Veit  van  den. 
See  Dytenbrodck. 

BROEDELET,  Jan,  was  a  Dutch  engraver  of 
mezzotints,  who  flourished  about  the  year  1700. 
We  have  by  him  '  Cephalus  and  Procris,'  after 
Gerard  Hoet. 

BROEDERLAM,  Melchior,  (or  Broederlain,) 
of  Ypres,  who  was  'painter  and  valet'  to  Philip 
the  Hardy,  was  born  at  Lille,  and  flourished  about 
the  year  1400.  The  work  which  brings  this  early 
master  into  notice  is  the  painting  on  the  wings  of 
an  altar-chest  carved  by  Jacques  de  Baerse  for  the 
chapel  of  the  Cartnusians  at  Dijon  ;  principal  parts 
are  in  the  Museum  of  Dijon  ;  the  subjects  repre- 
sented are 'The  Annunciation,'  'The  Visitation,' 
'The  Presentation,'  and  'The  Flight  into  Egypt.' 
Broederlam's  painting  is  noticeable  for  simplicity 
and  purity  of  character,  and  beauty  of  colour. 

BKUEN.     See  De  Broen. 

BROEKS,  Gaspar,  was  a  Dutch  painter  of 
merry-makings  and  boorish  frolics,  into  which  he 
introduced  much  low  humour  and  character.  He 
was  a  pupil  of  Jan  Baptist  van  der  Meiren,  and 
entered  the  Guild  of  St.  Luke  at  Antwerp  in  1694- 
95.  He  died  in  1716.  In  the  Dresden  Gallery  are 
two  pictures,  both  signed  I.  Broers. 

BROMEIS,  August,  a  landscape  painter,  who 
was  born  at  Wilhelmshohe  in  1813,  first  studied  in 
the  academy  of  his  native  town,  then  at  Munich, 
from  1831  to  1833,  in  which  year  he  went  to  Rome, 
where  he  was  much  influenced  by  the  style  of  J.  A. 
Koch.  Bromeis  returned  to  Germany  in  1848,  and 
resided  at  Frankfort  and  Diisseldorf,  and  at  Cassel, 
where  he  was  made  Instructor  and  Professor  of 
Paintmg  at  the  Academy  in  1867.  He  died  at 
Cassel  in  1881.  Among  his  most  successful  pic- 
tures, which  are  landscapes  of  an  ideal  character, 
are: 

198 


The  Campagna  at  Eome  {in  the  Town  Gallery  at  Cassel). 
Italian  Landscape.  1S69  {in  the  National  Gallery  at  Berlin). 
The  Grave  of  Archimedes  in  Sicily. 
Stormy  Landscape. 
Forest  near  Diisseldorf. 

BROMLEY,  John  Charles,  the  second  son  of 
William  Bromley,  was  born  at  Chelsea  in  1795. 
He  is  known  as  the  engraver  in  mezzotint  of 
Hayter's  '  Trial  of  Lord  William  Russell,'  Leslie's 
'Lady  Jane  Grey  refusing  the  Crown,'  Lewis's 
'Monks  preaching  at  Seville,'  and  other  important 
works,  including  many  excellent  portraits.  He 
died  in  1839.  His  younger  brother,  James  Bromley, 
who  was  likewise  a  mezzotint  engraver,  executed 
several  portraits  after  Hayter,  Ross,  and  other 
painters.     He  died  in  1838,  aged  thirty-seven. 

BROMLEY,  Valentine  Walter,  who  was  bom 
in  1848,  received  his  art  education  from  his  father, 
and  at  the  early  age  of  nineteen  became  an  Asso- 
ciate of  the  Institute  of  Painters  in  Water-Colours. 
He  frequently  acted  as  art  correspondent  for  the 
'  Illustrated  London  News.'  He  also  worked  much 
as  a  book-illustrator ;  amongst  other  works.  Lord 
Dunraven's  '  Great  Divide  '  was  illustrated  by  him. 
He  died  at  Fallows  Green,  Harpenden,  in  1877. 

BROMLEY,  William,  was  born  at  Carisbrooke, 
in  the  Isle  of  Wight,  in  1769,  and  was  apprenticed 
to  an  engraver  named  Wooding  in  London,  and 
soon  attracted  favourable  notice.  Of  his  early 
works  the  most  popular  are  the  prints  in  '  Macklin's 
Bible,'  and  his  engravings  of  Stothard's  designs 
illustrating  the  '  History  of  England.'  He  en- 
graved also  two  of  Sir  Thomas  Lawrence's  por- 
traits of  the  Duke  of  Wellington,  and  one  of  the 
young  Napoleon.  He  was  elected  an  associate 
engraver  of  the  Royal  Academy  in  1819,  and  was 
employed  for  many  years  by  the  trustees  of  the 
British  Museum  in  engraving  the  Elgin  marbles 
after  drawings  by  Corbould.     He  died  in  1842. 

BROMPTON,  Richard,  a  portrait  painter,  was  a 
pupil  of  Benjamin  Wilson.  He  afterwards  went 
to  Italy,  and  resided  some  time  at  Rome,  where  he 
received  instructions  from  Raphael  Mengs.  He 
was  there  introduced  to  the  patronage  of  the  Earl 
of  Northampton,  and  accompanied  that  nobleman 
to  Venice,  when  he  was  appointed  ambassador 
to  the  republic.  At  Venice  he  painted  a  convers- 
ation-piece, in  which  he  introduced  the  portraits 
of  the  Duke  of  York  and  several  English  gentle- 
men then  on  their  travels.  The  picture  was  after- 
wards exliibited  at  the  rooms  in  Spring  Gardens  in 
1763,  at  which  time  he  returned  to  England,  and 
for  some  years  practised  portrait  painting.  Ex- 
travagant living  brought  him  to  the  King's  Bench, 
but  he  was  rescued  by  the  Empress  of  Russia, 
at  whose  request  he  went  to  St.  Petersburg,  where 
he  was  appointed  portrait  painter  to  the  empress, 
and  where  he  met  with  much  employment.  He 
died  in  that  city  in  1782.  Among  liis  best  works 
are : 
The  Prince  of  Wales  in  the  Kobes  of  the  Garter,  in 

1772;  mezzotinted  hy  John  Saunders. 
Prince  Frederick  in  the  Robes  of  the  Bath  ;  mezzotinted 

by  John  Saunders. 
The  Earl  of  Chatham. 
Admiral  Saunders ;  in  Greemoich  Hospital. 

BRONDGEEST,  Albertds,  a  Dutch  painter, 
was  horn  at  Amsterdam,  December  2,  1786.  He 
was  a  pupil  of  P.  G.  van  Os  and  of  H.  Numan. 
He  travelled  in  Germany,  became  a  member  of 
the  Netherlands  Institute  and  of  the  Antwerp 
Academy,    and    painted    many    landscapes    and 


I 


PAINTERS  AND  ENGRAVERS. 


marines.     He  died  at  Amsterdam,  July  30,  1849. 
Works : 

Amsterdam.        R.  Museum.    A  River  Scene.    1837. 
n  „  Ditto  {afier  Cuyp). 

BRONKHORST,  Jan  van,  was  born  at  Utrecht 
in  1603.  He  was  taiiglit  glass-painting  by  T. 
Verburgh,  and  studied  afterwards  under  P.  Mat- 
thieu  at  Arras,  and  under  Cliamus  at  Paris.  He 
practised  that  branch  of  the  art  with  great  suc- 
cess, and  executed  the  fine  windows  in  the  new 
church  at  Amsterdam.  When  he  was  thirty-six 
years  old  he  became  acquainted  with  Cornelis 
Poelenburg,  and  abandoned  glass-painting  to  imi- 
tate the  style  of  that  master,  and  painted  several 
pictures  in  oil,  which  were  much  admired.  Several 
of  these  works  are  in  the  Museums  of  Brunswick 
and  Rotterdam.  He  etched  some  landscapes  after 
Poelenburg,  and  other  subjects  from  his  own 
designs.  He  died  in  1680.  Bartsch  describes 
eighteen  of  Ids  prints,  which  he  signed  J.  G.  fecit, 
or  J.  G.  B.  fecit.     The  most  important  are : 

The  Dying  Christ ;  after  Poelenhurq. 
A  Nymph  sleeping  in  a  Grotto ;  after  the  same. 
Koman  Ruins,  in  nine  plates ;  after  the  same. 
A  Magdalen ;  after  Haftleven. 

BRONKHORST,  Johannes,  was  born  at  Leyden 
in  1648,  and  lived  for  some  time  at  Horn.  He  was 
especially  noted  for  his  water-colour  paintings  of 
foreign  birds  and  beasts.     He  died  in  1726. 

BRONKHORST,  Pieter  van,  a  Dutch  painter, 
was  born  at  Delft  in  1588.  He  excelled  in  paint- 
ing the  interiors  of  churches  and  temples,  which  he 
ornamented  with  small  figures  representing  his- 
torical subjects.  In  the  town-house  at  Delft  he 
painted  two  large  pictures — one  of  'The  Interior 
of  the  Temple,  with  Solomon  pronouncing  liis 
Judgment,'  and  the  other,  '  Christ  driving  the 
Money-changers  out  of  the  Temple.'  He  died  in 
1661. 

BRONTIN,  Pierre,  a  French  historical  painter 
of  the  16th  century,  was  born  in  the  department 
of  the  Nord.  He  settled  at  Lille  about  1610, 
and  executed  many  pictures  for  the  churches  of 
that  city. 

BRONZING.     SeeALLORi. 

BROOKE,  Henry,  who  was  born  at  Dublin  in 
1738,  painted  historical  subjects  in  London  from 
1761  till  1767,  when  he  returned  to  Dublin  where 
he  died  in  1806. 

BROOKE,  William  Henry,  who  was  born  in 
1772,  was  a  nephew  of  Henry  Brooke,  the  author 
of  '  A  Fool  of  Quality.'  He  exhibited  portraits  and 
figure  subjects  at  the  Royal  Academy  occasionally 
between  1810  and  1826,  but  is  best  known  by  his 
illustrations  to  books :  Moore's  '  Irish  Melodies,' 
Walton's  '  Angler,'  Keightley's  '  Mythology,'  and 
other  works.     He  died  at  Chichester  in  1860. 

BROOKES,  Warwick,  draughtsman  and  de- 
signer, was  born  at  SaLford,  of  poor  parents,  in 
1808.  On  leaving  school  he  was  placed  as  "  tear- 
boy  "  under  his  uncle,  a  block-printer  in  some 
calico  printing  works.  But  his  drawings  having 
attracted  the  attention  of  his  master,  he  was  pro- 
moted to  the  designing-room.  In  1838  a  'School 
of  Design '  was  established  at  Manchester,  and 
Brookes  was  one  of  the  first  to  avail  himself  of 
its  instruction.  He  was  afterwards  one  of  the 
most  zealous  among  the  band  of  young  men  who 
associated  themselves  for  study  from  the  life  as 
"The  United  Society  of  Manchester  Artists." 
Brookes  now  began   to  make  a  local   reputation, 


and  the  Manchester  Exhibition  of  1857  brought 
him  before  a  wider  public.  His  contributions  were 
noticed  and  admired  by  the  Prince  Consort,  and 
he  was  brought  into  contact  with  many  brother 
artists,  and  for  a  time  paid  yearly  visits  to  London. 
He  was  about  this  time  engaged  by  the  Rossen- 
dale  Printing  Company,  and,  among  other  books, 
illustrated  the  works  of  Dr.  John  Browne.  In 
1865  the  first  symptoms  of  lung  disease  showed 
themselves.  He  was  gradually  forced  to  give  up 
;ictive  work,  and  in  1871  was  granted  a  pension 
of  £100  a  year  on  the  Civil  List.  He  died  at 
Salford,  August  11,  1882,  and  was  buried  at  Brook- 
lands,  near  Sitle,  Cheshire.  For  further  particulars 
see  the  '  Portfolio '  for  November  and  December, 
1886. 

BROOKING,  Charles,  an  eminent  marine 
painter,  was  born  in  1723.  He  is  said  to  have 
been  employed  in  some  department  of  the  dock- 
yard at  Deptford,  and  it  does  not  appear  that  he 
liad  the  advantage  of  receiving  any  regular  educa- 
tion in  the  art.  He  acquired  considerable  skill  as 
a  marine  painter,  and  was  fond  of  making  pictures 
of  sea-fights  and  of  ships'  manoeuvres,  in  which 
he  displayed  his  knowledge  of  nautical  tactics. 
Unfortunately  he  was  nearly  all  his  life  in  the 
hands  of  the  lower  class  of  dealers,  and  it  is  said 
had  just  won  by  his  art  the  patronage  of  a  gentle- 
man of  property  when  he  died  of  decline  in  the 
year  1759,  leaving  his  family  destitute.  Several 
of  his  works  were  engraved  by  Ravenet,  Canot, 
and  others.  There  is  a  large  sea-piece  by  him  at 
the  Foundling  Hospital. 

BROOKS,  John,  an  engraver  in  mezzotint,  is 
said  to  have  been_^  a  native  of  Ireland.  James 
McArdell  was  his  apprentice,  and  both  went  from 
Dublin  to  London  about  1727.  Brooks  led  a  disso- 
lute life,  and  for  years  lived  in  seclusion.  He  died 
about  1760.  His  works  are  chiefly  portraits.  We 
have  by  him  Hugh  Boulter,  Archbishop  of  Armagh, 
Primate  of  Ireland,  and  William  Aldrich,  Lord 
Mayor  of  Dublin ;  dated  1742.  There  is  also  an 
engraving  of  '  The  Battle  of  the  Boyne '  by  him, 
after  Wyck. 

BROOKSHAW,  Richard,  an  engraver  in  mezzo- 
tint, was  born  about  1736.  He  executed  several 
good  portraits,  and  other  subjects.  After  prac- 
tising in  London  for  many  years,  he  went  to 
Paris,  where  he  was  well  received.  He  died  soon 
after  1804.  We  have  by  him,  among  others,  the 
following : 

Louis  XVI.,  King  of  France. 

Marie  Antoinette  of  Austria,  Queen  of  France. 

A  half-length  Portrait  of  a  young  Lady  holding  a  Vase ; 

after  /Sir  Joshua  Het/twlds. 
A  Portrait  of  General  Paoh. 
James  Bouverie.  son  of  the  Earl  of  Radnor ;  after  Sir 

Joshua  RtijHolds. 
The  Enchantress  ;  after  Mitrrai/. 
Return  from  Egypt';  after  Rubens. 
Moonlight,  a  Sea-piece ;  S.  Kobellpinx. 
A  Storm  at  Sea ;  the  same. 

BROSAMER,  Haks,  an  old  German  engraver, 
was  born  at  Fulda  about  the  year  1506.  On  account 
of  the  small  size  of  his  prints  he  is  ranked  among 
what  are  called  the  I/ittle  Masters.  He  designed 
both  on  wood  and  copper,  although  he  was  pro- 
perly a  wood-engraver,  signing  himself  on  his  por- 
trait of  the  Landgrave  of  Hesse,  '  Formschneider 
zu  Erfurt,'  where  he  resided  during  the  latter  part 
of  his  life.  In  his  copper  engravings  his  style  is 
somewhat  modern,  and  resembles  rather  the  en- 
gravers who  copied  the  designs  of  others  than 

l'J9 


A  BIOGRAPHICAL  DICTIONARY  OF 


those  of  tlie  earlier  period,  wlio  invented  their  own 
subjects.     He  sometimes  marked  his  plates      ^ 
with  his  name,  and  sometimes  with  the  cipher    fcj 
annexed.     The  foUo^Tinf:  are  his  principal   El 
works : 

COPPEB-PLATES. 

The  Portrait  of  George  Wicelaus.  1543. 
The  Portrait  of  Jolin  II.,  Abbot  of  Fulda. 
Samson  and  Delilah ;  Johannes  Brosamer  Fulda  degens 

faciebat.  15  H.  B.  45. 
David  and  Bathsheba. 

Solomon  and  his  "Wives  worshipping  the  Idol.     1543. 
Xantippe  riding  on  Socrates. 
Laocoon  and  his  Children.     1538. 

Marcus  Curtius  leaping  into  the  Gulf ;  circular.     1540. 
The  Judgment  of  Paris. 
The  Cmciflrion;  Joh.  Brosamer  Fuld<e  degetis  faciebat, 

1542;  fine. 

wooDcnrs. 

Creation  of  Eve. 

Eve  giving  Adam  the  apple. 

liathsheba  in  the  Bath. 

Queen  of  Sbeba  before  Salomon. 

The  Last  Supper 

SS.  Jerome,  Matthew,  Mark,  Luke,  John,  Paul,  James 

the  Great. 
John  the  Baptist  in  Prison. 
Twenty-one  pieces  from  the  Revelation. 

POBTBAITS. 

Eoben  Hess,  the  poet, 

George  Sturtz,  physician. 

Philip,  Landgrave  of  Hesse. 

Hans  Sachs:  with  the  following  inscription:  "1545. 
Hans  Sachs.  Alter  51  jar :  "  Hans  Sachs,  at  the  age 
of  51.  1545.  On  this  print  M.  Derschau  observes,  on 
the  authority  of  a  MS.  note  on  an  old  impression, 
that  Brosamer  had  made  a  gift  of  this  engraving  to 
the  '  nia.ster-singer '  on  the  51st  anniversary  of  his 
birth.  W   B  S 

BROSTERHOUS,  Jan  van,  (Bbostebhu'st,  or 
Beosterhcizex,)  is  the  name  of  a  landscape 
painter  and  engraver  of  the  early  part  of  the  18th 
century.  Little  is  known  of  his  life,  but  he  is  said 
to  have  resided  in  the  Netherlands.  He  etched  in 
the  style  of  Ruisdael,  and  his  plates,  of  which  six- 
teen are  known,  representing  landscapes,  villages, 
&c.,  are  executed  in  a  tasteful  and  pleasing  man- 
ner. They  are  signed  with  a.  B,  oi  a.  B  and  an  R 
interlaced. 

BROSTOLONI,  Giovanni  Battista,  an  Ita'ian 
engraver,  was  bom  at  Venice  about  the  year  1726. 
He  is  said  to  have  been  a  pupil  of  Joseph  Wagner. 
We  have  the  following  plates  by  him  : 

Portrait  of  Pope  Benedict  XTV. ;  an  oval  plate. 

A  Vignette,  with  the  Portrait  of  Benedict  XTV. 

St.  Theresa  in  Adoration. 

A  set  of  twenty  Views  in  Venice ;  after  Canahtti.   1763. 

Another  set  of  twelve  large  plates ;  after  the  same,  with 
the  Ceremonies  of  the  Election  of  the  Doge,  and  his 
Marriage  with  the  Adriatic. 

BROUCK,  Moses  Vtt  den,  (or  Van  Beouck). 
See  Uttenbrodck. 

BROUWER,  Adbiaen,  (or  Brauwer.  or  De 
Bbauwere.)  was  born  about  the  year  1605,  pro- 
bably at  Oudenaerde.  Haarlem  is  considered  by 
some  writers  to  be  the  place  of  his  birth.  As 
related  by  Houbraken  and  Descamps,  the  life  of 
Brouwer  is  a  tale  of  opportunities  wasted  and 
talents  misapplied,  a  tale  of  drunken  bouts  and 
times  of  poverty.  But  later  researches  nave  dis- 
covered sufficient  to  do  more  than  throw  doubts 
even  on  these  statements ;  and  in  his  epitaph,  pub 
lished  by  De  Bie,  we  read  that  he  was  '  a  man  of 
great  mind,  who  rejected  every  splendour  of  the 
world,  and  who  despised  gain   and  riches.'     His 

200 


mother,  a  dressmaker  at  Haarlem,  entrusted  young 
Adriaen  to  the  tender  care  of  Hals,  who,  if  report 
speak  true,  used  him  but  ill.  He  made  him  work 
without  ceasing,  and  starved  him  for  his  pains. 
Leaving  Hals,  Brouwer  wandered  to  Amsterdam, 
where  his  talents  soon  met  with  the  recognition 
they  deserved.  From  Amsterdam  he  went  to 
Antwerp,  where  he  was  thrown  into  prison  as  a 
spy.  He  was  released  through  his  own  talents 
and  the  intercession  of  Rubens,  who  would  have 
had  him  reside  with  him.  But  his  biographers 
tell  us  that  he  considered  Rubens's  splendour 
little  better  than  the  Duke  of  Arenberg's  prison. 
In  1631-32,  Brouwer  was  received  into  the  Guild 
of  St.  Luke  at  Antwerp,  and  in  that  year  his 
portrait  was  painted  by  Van  Dyck ;  in  1634-5  he 
was  made  a  member  of  the  society  called  'The 
Violet.'  He  died  at  Antwerp  in  1638,  and  was 
buried  in  the  Church  of  the  Carmelites.  Genuine 
works  by  Brouwer  are  now  rarely  met  with  ;  they 
were  highly  esteemed  even  in  his  own  time.  Rubetts 
and  Rembrandt  both  possessed  several  of  them. 
Though  resident  for  some  time  at  Antwerp,  he  is 
essentially  Dutch  in  character;  and  almost  \vithout 
exception  his  pictures  represent  Dutch  interiors, 
with  peasants,  drinking,  smoking,  and  playing,  and 
as  often  as  not  quarrelling ;  and  they  are  /C^ 
especially  esteemed  for  their  colouring.  x\^ 
The  following  are  some  of  the  principal :  * 
Amsterdam.  Miistum.  A  Village  Eevel. 
Berlin  Museum.  The  Toilet  (engraced  in  the  leriet 

of  '  The  Seven  Sins '   as  '  Su- 
perbia ') ;  doubted. 
Brussels.         Museum.  A  Fight  in  a  Cabaret. 
„      Arenberg  Col.  Interior  of  a  Tavern. 
Cassel.  Gallery.    Peasants  Playing  Cards. 

,.  „  Peasants  in  an  Ale-house. 

Dresden  Gailenj.    Two  Peasants  Fighting. 

»  n         Two  Peasants  Sitting  at  a  Table. 

..  „  A  Caricature  (o  study). 

Dulwich.        Gallery.    Interior  of  an  Ale-house. 
Florence.        Vffizi.        Peasants  Drinking  in  a  Tavern. 

n  „  The  Topers. 

Frankfort.     Stadel.      A  Peasant  doctonng  the  foot  of 
another  Peasant, 
n  „  A  Peasant  having  his  back  doc- 

toredi    A.  B. 
.,  „  A  Man  taking  Medicine,    a.  b. 

London.  Bridaetoater  (  t>  .    o-     • 

Ilouse.      }  Peasants  Smging. 

„  Hertford  House.  A  Sleeping  Peasant 
Madrid.  Musettm.  The  Comic  Trio. 

Munich.     Finakolhek.  Peasants  playing  Cards. 

>!  ».  Spanish  Soldiers  playing  at  Dice. 

»)  n  Three  Peasants  smoking. 

»  »  A  Peasant     playing    the    Fiddle 

while  others  sing. 
»  »  Two  Peasants   fighting  separated 

by  a  third, 
n  „  Pf  a-sants  fighting  in  an  Ale-bonse. 

>.  „  A  Village  Doctor  dressing  a  Pea- 

sant's Arm. 
n  »,  Peasants  Singing. 

!)  „  A  Peasant  with  a  Lame  Foot. 

Paris.  Louvre.    Interior  of  a  Smoking-room. 

1,  „  The  Smoker.     A-  B. 

Pesth.  Gallery.  Peasants  drinking. 

Petersburg..ff<tr;»ii<a^«.  The  Drinker  (with  monogram). 
„  „  Peasants  in  an  Ale-house. 

,1  ,.  Peasants  quarrelling. 

The  Flute  Player. 
Vienna.  Gallery.  A  Peasant  sitting  on  a  Cask. 

„         Czeniin  Coll.  Peasants. 

We  have  a  few  etchings  by  Brouwer,  executed 
with  great  spirit,  and  full  of  character,  as  follow: 

A  company  of  four  Peasants ;  inscribed  2"  sa  vrienden.  ^. 

A  Woman  playing  on  the  Flageolet,  and  Peasants  dano- 
ing ;  inscribed  Zustig  spell,  4'c- 


I 


PAINTERS  AND  ENGBAVEES. 


Three  Peasants  smokiug ;   fVer  aent  smoken. 

A  Peasant  sleeping,  and  otbers  drinking ;  Brauwer. 

Two  of  single  figures  ;  signed  A.  Brower. 

A  Man  and  a  Woman,  with  a  Monkey  smoking;   Wats 

dit,  ^c. 
A  Woman  making  Cakes  ;  a  circular. 
A  Woman  holding  a  Stove,  and  a  Man  lighting  his  Pipe. 
Six  of  Men  and  Women  Peasants. 

In  1873  Wilhelra  Schmidt  published  at  Leipsic 
a  life  of  Brouwer  ;  and  Paul  Mantz,  in  the  '  Gazette 
dee  Beaux- Arts'  (1879-80),  and  H.  Raepsaet, in  the 
'  Annales  de  la  Societe  Royale  des  Beaux-Arts  de 
Gand '  (1852),  have  contributed  information  con- 
cerning him. 

BROUWER,  Jan,  was  a  native  of  Holland,  and 
flourished  about  the  year  1680.  He  was  chiefly 
employed  in  engraving  portraits,  which  possess 
no  great  merit.  Among  others  is  that  of  the  Em- 
peror Leopold,  after  W.  Vaillant. 

BROWN,  Daviu,  is  known  as  a  pupil  of  George 
Morland,  whose  works  he  imitated.  He  exhibited 
landscapes  at  the  Royal  Aciideiny  from  171)2  to  1797. 
BROWN,  Ford  Madox,  was  born  on  April  16, 
1821,  at  Calais,  his  father,  a  half-pay  naval  officer, 
having  taken  up  his  residence  abroad  when  after 
the  wars  he  had  failed  to  obtain  another  sljip  to 
command.  His  ability  to  draw  with  accuracy  was 
discovered  at  a  very  early  age  by  reason  of  the  lad 
having  corrected  when  hardly  live  years  old  the 
drawing  of  the  leg  of  a  horse  which  he  had  seen 
executed  by  a  relation.  His  father  was  delighted 
to  find  such  an  ability  in  his  son,  and  gave  hiin  the 
best  art  education  which  was  in  his  power,  employ- 
ing various  masters  to  teach  him  in  the  French 
and  Flemish  towns  in  which  the  family  successively 
made  their  home,  and  in  Bruges  and  Ghent 
especially  the  lad  received  very  careful  teaching. 
One  of  his  earliest  productions  was  a  portrait  of 
his  restless  father  which  is  still  in  existence,  and 
considered  a  striking  likeness  of  the  naval  officer. 
It  was  at  Antwerp  that  Ford  M.  Brown  really 
began  his  serious  studies.  He  entered  the  studio 
of  Baron  Wappers,  and  was  beginning  to  make 
important  progress  when  his  father  decided  to  leave 
the  city  on  a  further  wandering,  and  to  settle  down 
in  some  oth'T  place.  To  this  course  young  Brown 
steadily  objected,  and  being  supported  by  his 
mother,  who  was  possessed  of  some  small  means 
in  her  own  right,  it  was  decided  that  the  lad 
should  remain  at  Antwerp,  and  that  his  parents 
should  pursue  their  journey  without  him.  His 
life  at  Antwerp  was,  however,  soon  to  be  broken 
into,  as,  very  shortly  after  the  fmiily  had  left, 
the  news  reached  the  young  student  of  the 
sudden  death  of  his  mother,  and  he  had  to  hurry 
away  to  Calais  to  her  funeral.  His  father  and 
sister  returned  with  him  then  to  Antwerp,  but 
soon  after  that  the  sister  sickened  and  died  and 
was  buried  at  Antwerp,  and  then  the  health  of 
Ford  Brown  broke  down,  and  his  son  had  to  devote 
his  attention  to  his  f  itlier.  This  trouble  was  not 
all  which  befell  him,  for,  in  the  meantime,  he  had 
married,  and  a  few  years  ;:fter  (1845)  his  wife,  whose 
firstborn  child  had  died  and  who  bad  only  recently 
presented  him  with  another  girl,  became  seriously 
ill,  and  the  young  artist  had  to  proceed  to  Italy 
with  his  wife,  baby  daughter,  and  nurse,  in  the 
hope  that  in  a  more  clement  climate  his  wile  might 
obtain  strength.  Nine  months  they  spent  in  Uuiue, 
but  Mrs.  Brown  got  no  better,  and  desired  earnestly 
to  return  to  her  native  land.  They  journeyed 
home  by  rapid  stages  via,  Paris,  but  in  spite  of  all 


the  loving  care  which  was  lavished  upon  her,  the 
invalid  died  in  the  arms  of  her  husband  in  the 
very  postchaise  while  driving  down  one  of  the 
stre3ts  of  Paris  on  their  way  to  Calais.  The  chief 
picture  which  the  artist  had  commenced  in  Rome, 
a  large  triptych  of  'Chaucer  at  the  Court  of  Edward 
III.,'  had  been  destroyed  on  the  way,  as  it  liad 
proved  too  heavy  to  be  carried  with  them,  and 
too  serious  an  impediment  to  their  travelling,  and 
the  artist  had  therefore  to  return  to  England,  a 
widower,  with  a  baby  child,  broken  down  in  health 
and  in  spirits,  and  without  much  tangible  result  of 
his  labours  during  the  long  time  he  had  spent 
abroad.  Then  ensued  still  further  disappointment, 
for,  settling  in  England,  he  found  that  his  pictures 
were  only  received  with  derision,  those  which  he  sent 
in  to  the  Academy  being  either  promptly  rejected 
or  else  hung  so  high  as  to  be  almost  out  of  sight, 
or  hung  without  the  frames  which  he  had  specially 
designed  for  them,  or  in  rooms  where  it  was 
difficult  to  discover  them.  '  Christ  washing  the 
feet  of  St.  Peter'  was  skied  close  to  the  ceiling, 
'Baa  Lambs'  was  hung  in  the  octagon  room  out 
of  the  way,  his  picture  of  '  Cliaucer '  liad  its  fine 
frame  discarded,  and  his  pictures  of  'Shakespeare' 
and  'Our  Ladye  of  Good  Counsel'  were  returned 
on  his  hands.  Surely  never  did  a  great  painter 
meet  with  more  discouragement.  So  accustomed 
was  he  to  receive  ridicule  rather  than  praise,  that 
when  at  last  one  man,  attracted  by  the  high  merits 
of  the  artist,  his  marvellous  poetic  imagination 
and  his  glorious  colouring,  ventured  to  write  to  him 
and  to  ask  to  be  received  as  his  pupil,  it  was  with 
a  stout  oaken  stick  that  Madox  Brown  prepared  to 
receive  the  youthful  Rossetti  who  had  so  addressed 
him,  feeling  sure  in  his  own  mind  that  such  a 
letter  as  had  been  written  must  have  been  intended 
as  a  hoax.  It  was  in  1848  that  Rossetti  first  went 
to  see  Madox  Brown,  and  it  was  the  cartoons 
which  the  elder  artist  had  sent  in  for  the  decoration 
of  the  House  of  Peers  which  had  so  attracted  the 
younger  man.  There  were  but  seven  years 
difference  in  age  between  them,  but  the  strong 
affinity  which  each  realized  for  the  other  ripened 
into  a  very  close  friendship,  and  as  friends  rather 
than  actually  as  pupils  they  worked  together  for 
some  time.  Brown  had  been  in  advance  of  his 
age.  He  was  a  Pre-Raphaelite  before  the  word 
was  invented,  and  it  was  very  largely  from  his 
influence  that  the  new  movement  arose,  although 
he  never  affiliated  himself  with  it  or  joined  any 
society.  His  had  been  tlie  originating  force,  his 
was  the  teaching  and  influence,  albeit  it  was  others 
who  realized  all  that  the  new  step  meant,  and  put 
into  force  for  the  very  first  time  the  logical 
development  of  the  theories  which  had  been 
taught  them  by  Brown.  His  influence  over 
Rossetti  was  well-Dii;h  unbounded,  and  the  younger 
aitist  considered  him  as  his  "  dearest  and  most 
intimate  of  friends,  by  comparison  the  only  one 
wliom  he  possessed."  The  disgraceful  way  in  which 
the  artist  was  treated  by  the  Royal  Academy  was 
fortunately  not  followed  by  the  purchasers  of 
pictures,  some  of  whom  at  length  began  to  find  out 
Brown  aud  to  give  hiin  commissions.  It  was 
fortunate  that  it  was  so,  as  he  had  married  a 
second  time,  and  had  a  young  family  growing  up 
around  him  His  son,  Oliver  Madox  Brown,  was 
born  in  1855,  and  it  was  at  just  about  this  time 
th  it  the  tide  began  to  turn  in  his  favour.  Just 
before  the  birth  of  Oliver  he  liad  completed  one 
of  his   greatest   works,   'The   Last   of  England,' 

^01 


A  BIOGRAPHICAL  DICTIONARY  OF 


suggested  by  his  visit  to  Gravesend  to  see  his  old 
friend  Woolner  off  to  Australia.  In  1865  he  com- 
pleted his  noble  painting  called  '  Work,'  which  is 
now  in  the  Manchester  Exhibition,  and  then  it  was 
that  he  decided  on  having  for  the  first  time  a  show 
of  his  finished  productions.  It  was  held  in  Picca- 
dilly, and  owing  to  faults  of  mismanagement 
failed  to  pay  its  expenses,  but  it  made  the  artist 
known,  and  gathered  around  him  many  who,  in 
later  years,  became  his  friends  and  constant  patrons. 
Carlyle  and  Browning  were  amongst  the  most 
enthusiastic  of  his  admirers  at  that  time.  The 
years  which  followed  were  very  full  of  sound  work. 
'Eomeo  and  Juliet,"  English  Autumn  Afternoons,' 
'  Cromwell  on  his  Farm,'  '  Elijah  and  the  Widow's 
Son,'  '  Cordeha  and  Lear,'  '  Ehud  and  Eglon,' 
'  Wickliffe  on  his  Trial,'  and  many  others  might 
be  quoted  to  show  what  fine  paintings  were  pro- 
duced at  that  time ;  and  then  in  1878  arrived  the 
commission  for  the  greatest  work  of  his  life,  the 
series  of  mural  paintings  for  the  Town  Hall  of 
Manchester,  upon  which  he  was  at  work  when  he 
died.  Notable  amongst  this  splendid  series  are  the 
panels  which  depict  the  Expulsion  of  the  Danes, 
the  Eomans  building  the  City,  and  John  Dalton 
experimenting  with  marsh-gas.  One  of  his  latest 
works  was  the  designing  of  the  lovely  Irish  cross  of 
marble  which  was  placed  over  the  grave  of  Eossetti 
at  Birchington-on-Sea,  and  also  the  alto-relievo 
which  was  erected  on  the  Thames  Embankment  to 
the  memory  of  the  same  talented  painter.  He  him- 
self died  in  October  1893.  "  As  a  dramatic  painter 
he  has  had  few  equals  in  this  country,  just  as  for 
every  personal  quality  which  makes  a  man  beloved 
of  his  friends  he  had  no  superior."  His  special 
qualities  have  been  well  described  by  a  recent 
writer  as  "  unsurpassable  invention  and  mastery  of 
composition,  a  fine  sense  of  style,  a  vivid  appreci- 
ation of,  and  executive  powerover,  pure  colour."  He 
had,  it  must  be  confessed,  occiisionally  a  "strange 
leaning  towards  ugliness  of  form  or  attitude  and 
emphasis  of  expression  which  at  times  almost 
amounted  to  caricature,"  but  he  was  a  man  of 
the  highest  ideals,  of  an  opulent  colour  sense,  of 
the  noblest  intention,  and  gifted  with  wonderful 
skill.  His  friends  described  him  as  "gentle, 
modest,  genial,  and  guileless,  almost  to  the  point  of 
simplicity,"  although  he  could,  if  aroused,  be  force- 
ful, stern,  and  inflexible,  but  was  never  resentful 
or  vindictive.  He  was  one  of  the  very  last  of  the 
historical  painters  of  England,  a  man  of  great  in- 
vention, brilliant  execution,  and  largeness  of  con- 
ception, and  his  influence  upon  all  those  who 
immediately  followed  him  it  is  impossible  to  over- 
rate. To  him  we  reallj'  owe  the  startling  change 
which  passed  over  English  art,  its  recrudescence, 
and  its  revival.  Millais  could  not  have  been  but  for 
Brown  ;  Rossetti  learned  from  him  and  in  his  turn 
taught  him  what  he  knew  ;  Holman  Hunt  was  the 
result  of  the  work  of  Brown,  and  the  whole  school 
of  Englishmen  who  have  followed  have  learned 
colour,  brilliance,  invention,  and  the  use  of  the 
imagination  from  the  once  neglected  and  little 
understood  work  of  Ford  Madox  Brown.    G.C.  W. 

BROWN,  John,  was  "  Sergeant  painter  to  Henry 
VIII.,"  and  received  a  pension  of  £10  a  year.  He 
built  Painters'  Hall  for  that  Company  in  1553  ;  his 
portrait  is  preserved  there  {Redgrave). 

BROWN,  John,  the  son  of  a  watchmaker,  was 

born  at  Edinburgh  in  1752,  and  became  a  pupil  of 

Alexander  Runciuian.    When  nineteen  years  of  age 

he  went  to  Eome,  whence  be  sent  drawings  to  the 

202 


Royal  Academy.  He  afterwards  visited  Sicily,  and 
made  sketches  of  the  ruins  of  ancient  buildings 
there.  In  1786  he  went  to  London,  and  exhibited 
miniature  portraits.     He  died  at  Leith  in  1787. 

BROWN,  John  Lewis,  French  painter,  bom  at 
Bordeaux  the  16th  of  August,  1829,  of  a  family 
originally  English.  He  became  known  by  his 
studies  of  horses  and  dogs,  sporting  scenes  and 
military  subjects.  Among  his  most  celebrated 
pictures  we  may  cite  '  L'Ecole  du  Cavalier,'  acquired 
by  the  Emperor  Napoleon  III.  in  1866.  Two 
episodes  taken  from  the  Seven  Years'  War  were 
exhibited  in  1868,  and  '  Hohenlinden  3  d^cembre 
1800,'  painted  for  the  11th  Regiment  of  Chasseurs 
in  1887.  He  exhibited  some  dozen  pictures  at  the 
Exposition  des  Artistes  at  the  Champ  de  Mars 
in  1890.  Several  of  his  pictures  were  shown  at 
the  Universal  Exhibitions  of  1878  and  1889.  He 
gained  medals  in  1865,  1866  and  1867,  and  a  gold 
medal  at  the  Exhibition  of  1889.  He  was  decorated 
with  the  Legion  of  Honour  in  1870,  and  died  in 
Paris  the  14th  of  November,  1890. 

BROWN,  Mather,  was  born  in  America  (?  at 
Boston),  about  the  middle  of  the  18th  century ; 
came  to  England  when  quite  young,  and  became 
the  pupil  of  his  fellow-coimtryman.  West.  He  ex- 
hibited his  first  picture  at  the  Boyal  Academy  in 
1782,  and  continued  to  send  his  works  to  the  Exhi- 
bition constanth'  until  his  death.  He  painted  the 
portraits  of  George  III.  and  Queen  Charlotte,  and 
of  many  of  the  distinguished  English  military  and 
naval  officers  of  his  time ,  among  whom  were 
Elliot,  Rodney,  and  Cornwallis.  He  also  painted 
subjects  from  the  events  of  the  war  in  India  with 
Tippoo  Saib,  and  from  scenes  in  Shakespeare  for 
Boydell's  Gallery.  His  art  never  reached  any  high 
standard,  and  in  his  latter  days  it  became  almost 
imbecile.     He  died  in  London  in  1831. 

BROWN,  Peter,  a  flower  painter,  exhibited  at 
the  Eoyal  Academy  from  1770  till  1791.  He  was 
a  member  of  the  Incorporated  Society  of  Artists 
and  Botanical  Painter  to  the  then  Prince  of  Wales. 

BROWN,  Richard,  was  an  architectural  draughts- 
man of  some  repute  at  the  beginning  of  the  nine- 
teenth century.  He  published  views  of  Chester  and 
Exeter  Cathedrals,  and  several  important  books  on 
perspective  and  architecture.  His  last  work, '  Sacred 
Architecture,'  was  printed  in  1845. 

BEOWN,  Egbert,  a  native  of  London,  was, 
according  to  Lord  Orford,  a  disciple  of  Thornhill, 
and  worked  imder  him  on  the  dome  of  St.  Paul's. 
On  leaving  that  master  he  was  much  employed  in 
decorating  churches  in  the  city.  He  painted  tlie 
altar-piece  of  St.  Andrew  Undershaft ;  in  St,  Botolph, 
Aldgate, '  The  Transfiguration  : '  for  the  altar  in  St. 
Andrew's,  Holborn,  the  figures  of  St.  Andrew  and 
St.  John ;  and  two  liistories  on  the  sides  of  the 
organ.  In  St.  John's  chapel,  Bedford-row  (since 
pulled  down),  he  painted  the  figures  of  St.  John 
the  Baptist  and  St.  John  the  Evangelist.  He  died 
in  1753, 

BROWN,  William,  an  English  wood-engraver, 
was  born  at  York,  but  settled  in  Belgium,  where 
he  died  in  1877.     His  best  plates  are : 

Notre-Dame  de  Bon  Conseil ;  after  Van  Maldeghem. 
The  Transfiguration  ;  after  Raphael, 
The  Assumption  ;  after  Rubens. 
The  Holy  Family  ;  after  the  same. 
The  Last  Supper  ;  after  the  same. 

Jesus  about  to  be  crowned  with  Thorns;   after  Van 
Dyck. 

BEOWNE,  Ale.yasder,  was  an  artist  and  en- 


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iSydney  Mimicipal  Gallery 


CHAUCER  AT  THE  COURT  OF  EDWARD  HI. 


PAINTERS  AND  ENGRAVERS. 


graver  in  the  time  of  Charles  II.,  whose  portrait  he 
painted.  He  is  known  as  the  author  of  '  Ars  Pic- 
toria,  an  Academy  treating  of  Painting,  &c.,  with 
thirty-one  copper-plates ;  with  an  Appendix  on 
Miniature  Painting,'  1676  ;  and  of  '  A  Compendious 
Drawing-Book,'  with  forty  copper-plates,  1677. 

BROWNE,  Hablot  Knight,  better  known  as 
'Phiz,'  was  born  at  Kennington,  June  15,  1815. 
His  father,  a  merchant,  was  a  native  of  Norfolk. 
Hablot  (so  named  after  a  French  officer  killed  at 
Waterloo,  to  whom  his  sister  was  betrothed)  was 
apprenticed  to  William  Finden,  and  domiciled  in 
London  with  a  sister  married  to  Elkanan  Bicknell, 
the   well-known   collector.     Engraving,  however, 
was  not  to  the  boy's  taste,  and  he  began  to  dabble 
in  water-colour.     After  his  time  was  out  he  took 
a  modest  lodging  in  company  with  a  friend,  and 
entered  as  a  student  at  the  St.  Martin's  Lane  life- 
school,  where  Etty  was  working  at  the  time.     In 
1832  Browne  gained  a  medal  from  the  Society  of 
Arts,  having  in  1830  begun  that  association  with 
•Dickens  for  which  he  is  chiefly  remembered.     His 
first  drawings   were    for   '  Sunday   as   it    is,    by 
Timothy  Sparks.'     The  publication  of  '  Pickwick' 
followed  in  the  same  year,  and  after  the  death  of 
Robert  Seymour,  and  the  failure  of  Buss,  Browne 
was  chosen  by  Dickens  to  finish  the  series.     On 
the  first  two  plates  he  signed  himself  '  Nemo,'  but 
afterwards  adopted  '  Phiz,'  as  more  in  harmony 
with  '  Boz.'     This  association  between  writer  and 
artist  lasted  many  years,  and  bore  fruit  in  'Nicho- 
las Nickleby  '  (1839),  '  Martin  Chuzzlewit'  (1844), 
•  Dombey  and  Son '  (1848),   '  David  Copperfield  ' 
(1850), 'Bleak  House '(1853), 'Little  Dorrit'  (1855), 
and  '  A  Tale  of  Two  Cities '  (1859).     Later,  '  Phiz ' 
designed  illustrations  for  the  novels  of  Ainswortli, 
Lever,  and  Frank  Smedley  ;  his  mastery  of  liorses 
serving  him  well  with  the  two  latter.     After  his 
prosperity  became  assured   he  left  London,   and 
lived  successively   at  Croydon   and  at  Banstead, 
working  at  his  art,  and  spending  most  of  his  leisure 
in  the  hunting-field.     He  painted  in  water-colours 
and  occasionally  in  oil,  contributing  for  many  years 
to  the  British  Institution  and  the  Society  of  British 
Artists,  and  even  competing  at  Westminster  Hall 
in    1843.     In  1867   he  was  overtaken   by  partial 
paralysis,  and  though  he  continued   to  work  for 
the  fifteen  years  that  passed  before  his  death,  his 
hand  had  lost  its  cunning.     Towards  the  close  of 
his  life  he  received  a  small  pension  from  the  Royal 
Academy.     In  1880  he  moved  with  his  wife  and 
family  to  Brighton,  wliere  he  died,  July  8,  1882. 
BKOVVNB,  Henriette.     See  Desaux. 
BROWNE,  John,  the  son  of  a  Norfolk  clergy- 
man, was  born  at  Finchingfield,  in  Essex,  in  1741 
{Redgrave).     He  was  educated  at  Norwich,  and  in 
1756  was  sent  to  London,  where  lie   was  placed 
with  John  Tinney  the  engraver.    William  Woollett 
was  his  fellow  apprentice.  He  quickly  distinguished 
himself  in  his  art,  and  in   1768  exhibited  an  en- 
graving of  '  St.  John  Preaching  in  the  Wilderness,' 
after  Salvator  Rosa,  which  brought  him  into  much 
notice.      Two  years  afterwards  he  was  made  an 
associate  engraver  of  the  Royal  Academy,  and  he 
became  distinguished  as  an  excellent  engraver  of 
landscapes.     Many  of  his  works  were  published  by 
Alderman  Boydell.     He  died  at  Walworth  in  1801. 
The  following  are  his  principal  engravings  : 

St.  John  Preaching  in  the  'Wilderness;   after  Salvator 

Rosa. 
A  Landscape,  with  a  Sportsman ;  after  G.  Poussin ;  in 

the  Houghton  Collection. 


A  Kitchen ;  after  Teniers. 
The  Cottage  ;  after  Hohhema.     1773. 
The  Waggoner  ;  after  Rubens.     1776 ;  fine. 
A  Landscape  ;  after  tile  same  ;  from  a  picture  in  the  col- 
lection of  the  Duke  of  Montagu. 
The  Market ;    after  the  same;    from  a  picture  in  the 

Royal  Collection. 
The  Milkmaid  ;  after  the  same. 
Apollo  and  the  Muses  granting  Longevity  to  the  Sibyl 

of  Cuma ;  after  Salvator  Rosa. 

Landscape,  with  a  Waterfall ;  after  G.  Poussin. 

BROWNE,  J.  C,  who  was  born  at  Glasgow  in 

1805,  practised  as  a  landscape  painter  in  the  Low 

Countries,  Spain,  in  London,  in  Edinburgh,  and  in 

his  native  Glasgow.    He  died  in  Edinburgh  in  1867. 

BROWNLIE,    R.    A.,   was   brought   up   as   an 

architectural   and   mechanical   draughtsman.     On 

his  first  coming  up  to  London  from  the  north,  he 

exhibited   some   work   at  the  New   English   Art 

Chib,  but  in  later  years  established  himself  as  a 

black-and-white  artist,  and   became  well   known 

by  his  caricatures,  his  drawings  chiefly  appearing 

in  '  Sketch '  and  '  Judy  '  under  the  initials  R.  A.  B. 

He  died  in  Edinburgh  in  tlie  year  1897. 

BKOZIK,  Wenceslas,  historical  painter,  born  at 
Tremosyna,  near  Pilsen,  Bohemia,  in  1851.  At  the 
outset  of  his  career  he  was  a  pupil  of  the  School  of 
Beaux  Arts  at  Prague,  and  subsequently  continued 
his  studies  at  the  Munich  Art  Schools,  being  largely 
under  the  influence  of  Piloty's  school.  It  was  in 
the  year  1876  that  he  first  came  to  live  in  Paris  to 
study  under  Bonnat.  In  the  following  year  his 
first  pictures  were  exhibited  in  the  Salon,  to  wit : 
'  The  Departure  of  Dagmar,  Hancie  of  King  Valde- 
mar  II.  of  Denmark,  1205,'  and  '  An  Episode  in 
the  Hussite  War.'  Another  picture  of  his,  painted 
in  1878,  'The  Embassy  of  King  Ladislas  to  the 
Court  of  Henry  VII.,'  was  acquired  for  the  National 
Gallery  of  Berlin.  Later  on,  he  devoted  much  of 
his  time  to  portraiture,  with  no  little  success.  He 
was  decorated  with  the  Legion  of  Honour  on  July 
22,  1884,  being  promoted  to  the  rank  of  oflicer  on 
July  12,  1890.  He  gained  a  second-class  medal 
in  1878,  and  the  honour  of  nobility  was  conferred 
upon  him  by  the  Emperor  of  Austria.  His  death 
occurred  at  the  age  of  forty-nine. 

BRU,  MosEN  Vicente,  according  to  Palomino 
Velasco,  was  born  at  Valencia  in  1682.  He  was 
the  scholar  of  Juan  Conchillos,  and  gave  promise 
of  uncommon  ability.  Before  he  was  twenty-one 
years  of  age  he  had  painted  several  pictures  for 
the  churches  in  his  native  city,  of  which  that 
author  mentions  three  in  the  church  of  San  Juan 
del  Mercado — 'St.  Francisco  de  Paula,'  'The  Bap- 
tism of  Christ  by  St.  John,'  and  a  picture  of  'All 
the  Saints.'     He  died  in  1703. 

BRUANDET,  Lazare,  a  French  landscape 
painter,  was  born  in  Paris  in  1755.  He  painted 
views  of  Paris,  and  sought  to  imitate  Ruisdael. 
In  the  Louvre  there  is  by  him  a  '  View  in  the 
Forest  of  Fontainebleau,'  signed  and  dated  1785. 
He  died  in  Paris  in  1803. 
BRUCKER.  See  Prugger. 
BRUCKMANN,  Ale.xander,  historical  and  por- 
trait painter,  was  born  at  Reutlingen  in  1806,  and 
commenced  painting  in  1824  at  Stuttgart.  In  the 
following  year  he  removed  to  Munich,  and  in  1829 
to  Rome,  where  lie  remained  two  years,  and  there 
produced  his  picture,  now  in  the  State  Gallery  at 
Stuttgart,  '  Barbarossa's  Body  drawn  out  of  the 
Calyoadnus.'  In  1833  he  painted,  in  the  royal 
palace  at  Munich,  fourteen  pictures  from  Theocri- 
tus's  poems,  which  were  partly  his  own  concep- 
tions, and  partly  from  designs  by  H.  Hess.     In 

203 


A  BIOGRAPHICAL  DICTIONARY  OF 


1835  he  received  a  concussion  of  the  brain  from 
the  upsetting  of  a  carriage,  and  this  brought  on  a 
chronic  nervous  derangement,  ending  in  delirium 
and  death  in  1852  at  Stuttgart.  In  addition  to  a 
number  of  excellent  portraits,  mention  is  made  of 
his  '  Women  of  Weinsberg,'  '  The  Sirens,'  '  Komeo 
and  Juliet,' and  'The  Maiden  from  Afar'  (Schiller's 
'Das  Madchen  aus  der  Fremde  '). 

BRUGGE,  RoQiER  van.    See  Van  der  Weyden. 

BRUEGHEL.  As,  from  the  alphabetical  ar- 
rangement of  this  dictionary,  the  names  of  the 
members  of  this  family  are  intermingled  with 
those  of  synonymous  painters  with  whom  they  are 
in  no  way  connected,  it  has  been  thought  advis- 
able to  append  a  genealogical  table  to  show  their 
various  relationships.  'The  name  which  from 
custom  became  a  surname  arose  from  the  fact  of 
the  first  member  of  this  family  having  been  a 
native  of  a  village  of  that  name  near  Breda.  The 
modern  spelling  of  which,  Breughel,  has,  in  error, 
been  assigned  by  many  to  the  painter. 

Peter  I.  (Boeren  Brueghel)  (1630—1569) 
, \ 


Jan  I.  (Fluweelen  Brueghel) 
(liiOS— 16251,  married— 
1.  Isabella  de  Jode :  2.  Catherina  vaa  MarleDburz 


Peeter  U. 

(HoIIeu  Brueghel) 

(1564—1637-38) 

Peeter  III.  , L ,  | 

(1589—1638-39)    Jan  II.      Anibrosms    Paschasie   Auua  Brueghel 
(1601—16..)   (1617- 16?ol     married  (married 

Van  Keasel)  David  Teuiers) 

BRUEGHEL,  Abraham,  called  Ryngrap,  was 
born  at  Antwerp  in  1672.  He  excelled  in  the 
painting  of  flowers  and  fruit,  both  in  oil  and 
water-colours.  A  flower-piece  by  him  is  in  the 
Hermitage,  St.  Petersburg,  and  another  is  in  the 
Pitti  Palace,  Florence.  He  was  called  '  II  Napoli- 
tano,'  from  his  residence  in  Naples,  in  which  city 
the  greater  part  of  his  works  are  found.  He  died 
at  Rome  in  1720.  His  brother  Jan  Baptist 
Brueghel  was  also  a  fruit  and  flower  painter  ;  he 
was  born  at  Antwerp  in  1670,  and  died  at  Rome  in 
1719.  Caspar  Brueghel  was  the  son  of  Abraham 
Brueghel.  There  was  also  an  engraver  Frans 
HiERONYMUS  Brueghel,  who  flourished  in  the  18th 
century,  and  likewise  painted  sea-pieces. 

BRUEGHEL,  Ambros,  was  a  flower  painter,  and 
from  1653  to  1670  director  of  the  Academy  at 
Antwerp.  Pictures  by  him  are  at  Vienna,  Cologne, 
and  Cbristiania. 

BRUEGHEL,  Jan,  (or  Bruegel:  usually,  but  less 
correctly,  written  Breughel,)  was  called  '  Blumen- 
Bruegbel '  or  '  Saiumt-Brueghel,'  also  Pluweelen- 
Brueghel,  i.  e  '  Velvet-Brueghel,'  it  is  s.aid  on 
account  of  his  partiality  for  dressing  in  that 
material.  He  was  the  younger  son  of  Peeter 
Brueghel  the  elder,  and  was  born  at  Brussels  in 
1568.  His  father  dying  when  he  was  only  five 
years  old,  he  was  brought  up,  and  instructed  in  the 
art  of  painting  in  distemper,  by  Marie  de  Bes- 
semers  (the  widow  of  Pieter  Coucke  of  Alost),  who 
was  his  maternal  grandmother.  He  was  afterwards 
instructed  by  Pieter  Goetkint  in  the  use  of  oil. 
In  the  early  part  of  his  career  he  painted  flowers 
and  fruit,  in  which  branch  of  the  art  he  had  already 
become  celebrated,  when  on  visiting  Italy — going 
through  Cologne,  where  he  stayed  some  time— he 
changed  his  subjects,  and  painted  landscapes  with 
small  figures,  which  were  correctly  drawn  and 
touched  with  spirit.  On  his  return  to  Flanders  bis 
works  were  regjirded  with  much  esteem.  In  1597  he 
entered  the  Guild  at  Antwerp.  In  1599  he  married 
Isabella  de  Jode,  of  Antwerp,  by  whom  he  had  two 
children— Jan  Brueghel  'the  younger,'  who  fol- 
204  J       o    > 


lowed  his  father's  profession,  and  afways  painted 
landscapes,  which  are  frequently  mistaken  for  his 
father's  work,  and  a  daughter  Paschasie,  who  mar- 
ried the  painter  Van  Kessel.  In  1605  we  find  that 
Brueghel  married  again.  His  second  wife,  Cathe- 
rina van  Marienburg,  bore  him,  among  other  chil- 
dren, a  daughter  Anna,  who  subsequently  became 
the  first  wife  of  David  Teniers.  In  1601  Brueghel 
bought  the  freedom  of  Antwerp ;  in  1602  he  was 
dean  of  the  Guild  ;  he  was  also  a  member  of  the 
'Violet'  Society.  He  died  at  Antwerp  in  1625. 
Though  it  is  as  a  landscape  painter  that  Brueghel 
won  most  of  his  fame,  yet  his  subject-pictures  are 
little  behind  the  works  of  his  contemporaries  in 
that  branch  of  art.  They  are  conceived  with  a 
sense  of  humour,  and  are  carefully  executed.  His 
productions  were  so  much  admired  by  Ruhens  that 
he  solicited  him  to  paint  the  landscapes  in  several 
of  his  easel-pictures.  One  of  the  most  esteemed 
specimens  of  their  united  talents  was  a  picture  of 
'  Adam  and  Eve  in  Paradise,'  in  which  the  figures 
of  Adam  and  Eve,  and  perhaps  the  horse,  were 
admirably  painted  by  Rubens  in  one  of  the  finest 
landscapes  of  Brueghel.  It  was  formerly  in  the 
collection  of  the  Prince  of  Orange,  but  was  taken 
to  Paris  by  the  French,  and  is  now  in  the  Hague 
Gallery.  Brueghel  performed  a  similar  service  for 
Van  Balen  and  Rottenhammer,  and  he  painted 
small  figures  with  so  much  neatness  and  accuracy 
that  he  was  invited  to  decorate  with  them  the 
churches  of  Steenwijck  and  the  landscapes  of 
Momper.  His  'Views  of  Flanders'  are  faithful 
transcripts  of  the  scenery  of  the  country  ;  and  his 
trees,  plants,  and  even  insects  are  drawn  and 
painted  with  the  utmost  precision.  In  art  Jan 
Brueghel  was  as  superior  to  his  father  as  the  latter 
was  to  his  son  Pieter.  He  painted  scenes  from 
peasant  life,  as  well  as  demoniacal  subjects,  with 
much  success.  His  works  display  a  sound  know- 
ledge of  cbiarosouro.  The  following  are  some  of 
his  -principal  paintings : 

Augsburg.      Gallery.  Lan(lsrape.and figures(wj</iEMieBs). 
Beilin.  Gallery.  The  Forge  of  Vulcan   {figures  by 

Tan  Balen). 
,t  ,<         Still-life  (a  red  vase  withfiowers). 

„  „         Paradi.se. 

„  I,        Laud.scape  with  St.  Hubert  (figures 

by  Rnheiis). 
Brussels.       Museum.  St.  Norbert  preaching, 

„  „        Autumn. 

Gassel.  Gallery.  Winter  Landscape. 

„  „         Sea-piece. 

„  „         Landscapes. 

Dresden.         Gallery.  Landscapes  (fourteen,  all   signed 
Brueghel,   and   bearing  dates 
from  1601—1642). 
t,  „        Landscapes  with   figures  {sixteen 

unsiyned), 
Florence.  Uffiit.  Landscape. 

„  „     The  fom-  Elements. 

Lyons.  Museum.  The  four  Elements. 

Madrid.  Museum.  The  four  Elements. 

„  „  Landscapes. 

„  „  Kustic  Feasts. 

And  others. 
Munich.       Finakothek.  Landscapes    and    figures    (twenty' 
seven :  nine  have  figures  by   Van 
Balen). 
Paris.  Louvre.     The  Terrestrial  Paradise. 

y,  „  Air  {figures  by  Van  Balen).     1621. 

»  „  Battle  of  Arliela. 

„  „  The  Bridge  of  Talavera.     1610. 

,,  „  Landscape.     1600. 

And  others. 
Petersburg.  Hermitage.  Landscape  with  a  Forest.    1607. 

Ten  other  landscapes. 
Borne.  Doria  Pal.  The  four  Elements. 


PAINTERS  AND  ENGRAVERS. 


Vienna.        Gallery.  Coast  scene. 

„  ,,  Flowers. 

„  „  The  four  Elementa. 

„  „  Landscape. 

„  Liechtenstein  Coll.  laandscape. 

We  have  four  small  etchings  by  Jan  Brueghel ; 
they  are  marked  J.  Sadeler  exc. 

BRUEGHEL,  Peeteu,  'the  elr'' t,' (Bruegel  or 
less  correctly  Breughel.)  called  '  Boeren-Brueghel ' 
(Peasant-Brueghel),  and  also  '  the  Droll,'  was  born 
in  the  village  of  that  name,  near  Breda,  about  the 
year  1530.  He  was  the  son  of  a  peasant,  and  was 
instructed  in  painting  by  Pieter  Coucke ;  but  he 
seems  to  have  paid  more  attention  to  the  eccen- 
tricities of  Jerom  Bosch  than  to  the  works  of  his 
instructor.  He  became,  in  1551,  a  member  of  the 
Guild  at  Antwerp,  and  travelled  soon  afterwards 
in  France  and  Italy,  devoting  particular  study  to 
the  wildest  and  most  romantic  parts  of  the  Alps. 
On  his  return  to  Flanders,  in  1553,  he  settled  for  a 
time  at  Antwerp,  where  his  works  met  with  much 
admiration.  In  1563  he  removed  to  Brussels,  where 
he  died  in  1569.  His  best  pictures  represent  village 
feasts  and  merry-makings,  and  it  is  said  that  he 
frequently  disguised  himself  as  a  boor,  to  mix  in 
those  rural  amusements,  to  observe  with  more 
accuracy  their  various  characters,  which  he  personi- 
fied with  great  humour  and  pleasantry.  He  also 
painted  attacks  of  banditti  in  wild  landscapes, 
gipsies  telling  fortunes,  and  other  drolleries.  In 
these  subjects  he  has  only  been  surpassed  by 
Teniers.  The  following  are  some  of  his  best  paint- 
ings : 

Brussels.       Museum.       Massacre  of  the  Innocents. 
Darmstadt.  Gallery.        Landscape. 
Florence.      Uffizi.  Christ  bearing  the  Cross. 

Madrid.         Museum.       Triumph  of  Death. 
Monicb.        Finaliothek.  Preaching  of  John  the  Baptist. 
Paris.  Louvre.        View  of  a  Village. 

„  „  Peasants  dancing. 

Vienna.        Gallery.       Fight  between  Carnival  and  Lent. 
1.559. 

„  „  Massacre  of  the  Innocents. 

„  „  Christ  carrying  the  Cross.     1563. 

»  „  The  Tower  of  Babel.     1563. 

„  „  Peasant  Wedding. 

Peeter  Brueghel  has  etched  a  few  plates  of  similar 
subjects  to  his  pictures : 
A  large  plate  of  a  Kermess,  or  Village  Festival. 
Another  subject  of  Peasants  regaling  ;  inscribed  Kirch' 

mess  Barth.  Mumper  exc. 
The  Feast  of  the  Archers,  with  their  Banner  fljring  from 

the  Window  of  an  Alehouse ;  inscribed  Bit  is  de 

Guide,  &c. 
A  Masquerade,  known  by  the  name  of  Valentine  and 

Orson,  with  his  name,  and  dated  1566 ;  scarce. 
A  View  on  the  Khine,  with  the  subject  of  D;edaliis  and 

Icarus ;  Fetrus  Brueghel  fecit  ;  JRomte,  1553.    Excud. 

Mondius. 
Another  View  on    the    Rhine,  with    the   subject  of 

Mercury  and  Psyche  ;  same  mark. 

BRUEGHEL,  Peeter,  'the  younger,'  called, 
from  the  frightful  and  eccentric  subjects  he  painted, 
'  HoUen  Brueghel '(' Hell  Brueghel '),  was  born  at 
Brussels  in  1564.  He  studied  under  Gillis  van 
Coninxloo  at  Antwerp.  As  a  painter  he  is  much 
inferior  to  his  father,  the  elder  painter  of  the 
same  name,  and  there  is  not  much  in  the  subjects 
of  his  pictures  to  recommend  them  to  one's  notice. 
He  was  registered  as  a  master  at  Antwerp  in  1585; 
married  three  years  later,  and  died  also  at  Antwerp 
in  1637-38.  A  '  Christ  bearing  the  Cross,'  signed 
and  dated  1606,  in  the  Berlin  Museum,  is  a  good 
specimen  of  his  art ;  a  replica  of  the  same  subject 
is  in  the  Antwerp  Gallery.    In  the  Brussels  Gallery 


there  is  a  'Fall  of  the  Rebel  Angels '  by  him.  His 
works  are  seen  in  many  of  the  continental  galleries. 
He  had  a  son,  Peeter  Brueghel  III.,  who  was 
Dorn  at  Antwerp  in  1589,  was  free  of  the  Guild  in 
1608,  and  died  in  1638-39,  and  was,  it  is  thought, 
instructor  of  Gonzales  Coox. 

BRUGES,  Jean  de,  was  the  author  of  the 
illuminations  in  a  translation  of  the  Vulgate 
which  was  presented  to  Charles  V.  of  France  by 
one  Jehan  Vaudetar.  It  is  now  in  the  Westreen 
Museum  at  the  Hague,  a  museum  which  contains 
many  interesting  missals  of  a  similar  character. 
These  illuminations  were  executed  in  the  year 
1371,  a  period  when  art  in  the  Netherlands  was 
making  rapid  advances  beyond  the  conventionality 
of  the  early  14th  century,  and  the  work  of  Jean 
de  Bruges  is  by  no  means  behind  that  of  his 
contemporaries. 

BRUGES,  Marco  de.     See  Garrard. 

BRUGES,  Roger  of.     See  Van  der  Wevden. 

BRUGGEN,  J.  ter.     See  Ter  Bruggen. 

BRUGGEN,  J.  VAN  der.    See  Van  der  Bruggen. 

BRUIN  (Bruyn).     See  De  Brdyn. 

BRUN,  Le.     See  Le  Brun. 

BRUN,  Augustin.     See  Braun. 

BRUN,  F.,  a  French  engraver,  was  probably  of 
the  same  family  with  Charles  and  Gabriel  Le  Brun. 
He  engraved  a  few  plates,  which  are  executed  en- 
tirely with  the  graver,  in  a  neat  style,  but  without 
taste ;  among  which  are  the  following  portraits  : 

The  King  and  Queen  of  Bohemia ;  in  one  plate. 

Leopold,  Archduke  of  Austria. 

Frederick  Henry,  Prince  of  Orange. 

BRUNAUD,  Michel,  was  a  French  engraver 
on  wood,  who  flourished  at  Lyons  in  the  16th 
century.  There'  is  by  him  a  fine  engraving  of 
Henry  IV.,  King  of  France  and  Navarre,  signed 
and  dated  1595. 

BKUNE,  Adolphe,  who  was  bom  at  Paris  in 
1802,  studied  under  Gros,  and  made  his  debut  at 
the  Salon  in  18.33  with  an  'Adoration  of  the  Magi.' 
He  was  subsequently  employed  on  various  public 
buildings.  He  decorated  the  '  S.-ille  des  Seances' 
of  the  Senate  in  the  Luxembourg,  and  the  ceiling 
of  the  Bibliotheque  of  the  Louvre.  Brune  died  in 
1880. 

BRUNEAU,  Louis,  a  French  engraver,  flourished 
about  the  year  1750.  He  etched  several  plates  of 
landscapes,  some  of  which  are  from  his  own  de- 
signs. They  are  executed  in  a  very  pleasing  style. 
It  is  most  probable  that  he  resided  some  time  in 
London,  as  some  of  them  were  published  by  J. 
Tinney,  in  Fleet  Street. 

BRUNETTI,  Seeastiano,  was  a  native  of  Bo- 
logna, and  was  first  a  scholar  of  Lucio  Massari  ; 
but,  according  to  Malvasia,  he  afterwards  was 
instructed  in  the  school  of  Guido,  of  whom  he  was 
one  of  the  ablest  disciples.  He  painted  in  the 
graceful  manner  of  his  instructor,  but  his  colour- 
ing is  rather  cold  and  heavy.  In  the  church  of 
Santa  Maria  Maggiore,  at  Bologna,  he  painted  a 
picture  of  '  The  Guardian  Angel ; '  in  San  Giuseppe, 
a  '  Holy  Family,'  entirely  in  the  style  of  Guido  ; 
and  in  Santa  Margherita,  '  Mary  Magdalen  pray- 
ing in  the  Desert.'  This  last  is  now  in  the  Pina- 
coteca  at  Bologna.     He  died  young  in  1649. 

BRUNI,  Domenico,  was  born,  according  to 
Averoldi,  at  Brescia  in  1591,  and  was  a  scholar  of 
Tommaso  Sandrini.  He  was  a  reputable  painter 
of  architectural  views  and  perspective.  Several 
of  his  works  are  in  the  churches  and  public  edifices 
at  Brescia,  where  he  died  in  1666. 

205 


A  BIOGRAPHICAL  DICTIONARY  OF 


BRUNI,  Fedor  Antonovitch,  born  in  1801,  was 
the  son  of  Italian  parents  domiciled  in  Russia. 
He  studied  at  Rome,  but  returned  to  St.  Peters- 
burg, where  he  eventually  became  director  of  the 
Academy  of  Fine  Arts.  His  principal  works  are 
'  The  Death  of  Camilla,'  '  Christ  in  the  Garden  of 
Gethsemane,'  '  The  Brazen  Serpent,'  and  various 
figures  in  the  cathedral  of  St.  Isaac.  From  1866 
till  his  death,  in  1874,  he  superintended  the  School 
of  Mosaics  at  St.  Petersburg-. 

BRUNI,  Francesco,  an  Italian  engraver,  was 
born  at  Genoa  about  the  year  1660.  We  have  by 
him  a  plate  of  '  The  Assumption  of  the  Virgin,' 
after  Guido. 

BRUNI.  Geronimo,  a  famous  painter  of  battle 
scenes  and  an  etcher,  was  a  pupil  of  Bourguignon, 
and  was  working  at  Naples  in  1660-70. 

BRUNI,  GiULio,  was  a  Piedmontese  painter,  who 
was  educated  at  Genoa  under  Lazzaro  Tavarone  ; 
but  preferring  the  more  pleasing  manner  of  Gio- 
vanni Battista  Paggi,  he  became  his  scholar,  and 
pioved  a  very  reputable  painter  of  historical  sub- 
jects. According  to  Soprani,  he  flourished  about 
the  year  1625,  and  was  at  that  period  in  great 
repute  in  Savoy,  when  the  wars  in  that  country 
obliged  him  to  leave  it  and  return  to  Genoa,  where 
he  died  soon  after. 

BRUNI,  Orazio,  an  Italian  engraver,  was  born 
at  Siena  about  the  year  1630.  He  is  one  of  the 
few  Italians  who  worked  entirely  \vith  the  graver, 
and  appears  to  have  imitated  the  style  of  F.  de 
Poilly.  He  engraved  some  plates  from  his  own 
designs,  and  others  from  Rutilio  llanetti,  &c.  The 
following  are  among  his  plates  : 

The  Prodigal  Son. 
The  Golden  Age. 
A  set  of  the  Four  Seasons. 
A  set  of  various  Animals. 

A  Warrior  and   a  Female  in  a  Triumphal  Car,  with 
Minerva  presenting  a  Sceptre. 

BRUNN,  A.  F.,  was  a  native  of  Germany,  and 
flourished  about  the  year  1580.  He  engraved 
some  plates,  which  are  neatly  executed,  but  in  a 
stiff,  Gothic  style.  Among  others  is  a  print  repre- 
senting Christ  standing  on  a  mountain,  accompanied 
by  an  angel,  with  a  female  figure,  emblematical 
of  the  Church,  and  Satan  and  his  accomplices 
appear  below.  It  is  inscribed  A-  F.  Brunn  fecit, 
by  which  it  may  be  presumed  to  be  from  his  own 
design. 

BRUNN,  D.,  was  probably  a  relative  of  Isaac 
Brunn.  He  worked  entirely  vdih  the  graver,  in  a 
style  that  has  some  resemblance  to  that  of  Paul 
Pontius,  but  very  inferior.  Among  other  plates  by 
him  we  have  a  Bacchanalian  subject,  after  Rubens, 
and  a  similar  subject  with  boys,  after  Van  Dyck  ; 
signed  D.  Brunn,  Arg"^  sculp.  1628. 

BRDNN,  Franz,  was  an  engraver  of  Strassburg, 
who  was  working  from  1559  to  1596,  and  chiefly 
devoted  to  animals  and  to  ecclesiastical  and 
humorous  figures.  There  are  many  of  his  pro- 
ductions in  the  Louvre.  He  is  supposed  to  have 
died  in  1620. 

BRUNN,  Isaac,  who  was  born  at  Pressburg  about 
the  year  1591,  was  an  engraver,  designer,  and 
printseller  of  Strassburg.  He  engraved  in  the 
manner  of  Theodor  de  Bry,  and,  on  account  of 
the  small  size  of  his  prints,  is  ranked  among  the 
Little  Masters.  There  is  a  neatly-engraved  plate 
by  him  of  '  The  Church  at  Strassburg.'  It  is  signed 
Isaac  Brunn,  Argeniiensis,  xa^'oypa^otif,  a.d.  1615. 
Several  others  are  mentioned  by  Brulliot  in  his 
206 


'  DictionnairedesMonogrammes.' He  signed 

his  portraits  with  the  initials  J.B.,  or  the  T  |T? 

tillTlGSCcl  ciDiicr.  ^"^ 

BRUNNBR-LACOSTE,  Hesri  Emile,  a  painter 
of  fruit,  flowers,  and  game,  and  of  landscape,  genre, 
and  decorative  subjects,  exhibited  frequently  at 
the  Paris  Salon.     He  died  in  1881,  aged  43. 

BRUNNER,  Leopold,  a  pupil  of  Drechsler,  and 
painter  to  the  Austrian  Court,  was  bom  at  Vienna 
in  1788.  He  devoted  himself  especially  to  the 
production  of  landscapes  on  a  large  scale,  and  also 
flower-pieces.  He  died  at  Vienna  in  1866.  His 
son,  Leopold  Brunnee,  who  was  bom  at  Vienna 
in  1822,  died  in  the  same  city  in  1849,  was  a 
painter  of  landscapes  and  animals  in  oil  and 
water-colour ;  he  also  lithographed  after  Gauer- 
mann.  An  Interior  of  Goat-shed,  by  him,  signed 
L.  Brunnee,  1849,  is  in  the  Belvedere,  Vienna. 

BRUNO,  Antonio,  a  native  of  Modena  or  Cor- 
reggio,  painted  at  Parma  in  the  manner  of  AUegri, 
of  whom,  if  he  was  not  a  scholar,  he  was  a  great 
imitator.  He  emulated  him  in  his  grace,  his  nature, 
his  f  oreshortenings,  and  his  broad  lights  ;  but  with 
a  far  less  correct  pencil.  He  was  a  contemporaiy  of 
that  great  genius,  as  one  of  his  works  bears  the 
date  of  1530. 

BRUNORI,  Federigo,  (or  Bbunorini,)  a  pupil  of 
Damiani,  followed  the  Venetian  style  of  painting. 
His  portraits  are  natural  ;  he  was  fond  of  foreign 
drapery,  and  coloured  with  a  strong  effect.  In 
some  of  his  compositions  he  availed  himself  of 
the  prints  of  Albreoht  Diirer.  He  was  living  in 
1600. 

BRUSASORCI.    See  Del  Ricci. 

BRUSCO.     See  Poelenburgh. 

BRUSSEL,  Barend  van.    See  Orley. 

BRUSSEL,  Hermanus  van,  a  landscape  painter 
and  etcher,  was  bom  at  Haarlem  in  1763,  and  died 
at  Utrecht  in  1815.  Among  his  best  etchings  is 
mentioned  a  set  of  twenty-one  landscapes  with 
figures. 

^BRUSSEL,  Paulus  THEODORas  van,  a  flower 
painter,  born  at  Zuid-Polsbroek,  near  Schoonho- 
ven,  in  1754,  was  a  scholar  of  Jean  Augustin,  and 
of  H.  Meyer  of  Haarlem.  He  was  first  employed  M 
in  the  manufacture  of  tapestry,  but  afterwards  ^ 
devoted  his  attention  entirely  to  nature,  and  be- 
came one  of  the  best  fruit  and  flower  painters  of 
his  time.  His  later  pictures  are  his  best,  and  are 
to  be  found  in  some  of  the  richest  collections.  He 
died  at  Amsterdam  in  1795. 

BRUSSELS,  Bernard  of.     See  Orlet. 

BRUSSELS,  Roger  of.    See  Van  deb  Wetden. 

BRUYN,  Abraham  de.     See  De  Brdyn. 

BRUYN,  Bartholomads,  wa.s  born  at  Cologne 
in  the  beginning  of  the  16th  century.  His  early 
works  resemble  those  of  the  '  Master  of  the  Death 
of  the  Virgin,'  whose  pupil  he  is  said  to  have 
been  ;  but  the  paintings  executed  towards  the  close 
of  his  life  show  a  tendency  towards  copying  the 
Italians.  Bruyn  died  in  1566.  His  masterpiece  is 
the  wings  of  a  Shrine  in  the  church  of  Xanten, 
which  were  completed  in  1636.  They  represent 
on  the  inside  the  '  Lives  of  SS.  Victor,  Sylvester, 
and  Helena ; '  and  on  the  outside  the  '  Virgin  and 
Child,  with  Saints.'  Portraits  and  historical  pic- 
tures by  this  artist  are  in  the  following  Galleries  : 

Berlin,  Gallery,  Portrait  of  Johannes  von  Eyht, 
Burgomast«r  of  Cologne,  1525  ;  Madonna  and  Child ; 
The  Incredulity  of  St,  Thomas.  Brunsvrick,  Gallery, 
Two  portraits  {dated  1539).  Brussels,  Museum, 
Male  portrait,  1543 ;  Female  portrait,  1537.  Cologne, 


PAINTERS  AND  ENGRAVERS. 


Museum,  Male  portrait,  1535.  Darmstadt,  Gallery, 
Female  portrait,  1539.  Dresden,  Gallery,  Descent 
from  the  Cross.  Frankfort,  Stddel,  Male  portraits 
(two)  ;  Female  portrait.  Munich,  Finakothek,  St. 
Benedict,  St.  Catharine,  St.  Maurice,  and  St. 
Barbara ;  Descent  from  the  Cross.  Petersburg, 
Hermitage,  Portraits  of  a  man  and  his  three  sons  ; 
Portraits  of  the  wife  and  one  daughter  (the  huhj  is 
the  same  as  that  in  aportrait  by  Bruyn  in  the  Museum 
at  Cologne). 

BRUYN,  CoRNELis  DE.     See  De  Brutn. 

BRUYN,  NicoLAES  DE.     See  De  Brdyn. 

BRUYN,  Th:^odore  de,  was  a  Swiss  landscape 
and  cattle  painter,  who  settled  in  England  in 
1760.  He  exhibited  for  several  years  in  the  Royal 
Academy,  and  decorated  the  chapel  of  Greenwich 
Hospital.     He  died  in  London  in  1804. 

BUY.     See  De  Brt. 

BRYAN,  Alfred,  a  well-known  caricaturist  and 
black-and-white  artist,  born  in  1852.  He  com- 
menced drawing  for  'The  Hornet'  in  1872,  and 
later  became  one  of  the  principal  and  most  prolific 
contributors  to  '  Moonshine,'  for  many  years  pro- 
viding the  weekly  cartoon  for  that  paper  besides 
other  sketches.  He  also  executed  work  for  the 
'Sporting  and  Dramatic  News,'  and  for  the 
'Entr'acte.'  He  turned  out  a  constant  supply  of 
drawings  with  great  facility,  and  died  in  1899. 

BRYER,  Henry,  was  a  pupil  of  Wynne  Ryland, 
and  became  his  partner  as  a  printseller  in  Cornhill. 
He  engraved  a  few  plates,  chiefly  from  the  designs 
of  Angelica  Kautfmann.  Among  other  prints  by 
him  we  have  a  '  Bacchus  and  Ariadne,'  and  a  large 
plate  of  '  Mars  and  Venus  discovered  by  Vulcan.' 
He  died  in  1799. 

BRYSAKIS,  Petros,  a  Greek  historical  painter, 
born  at  Thebes  in  1814.  He  went  to  Munich  in 
1832,  and  studied  in  the  Academy  there,  and  there 
died  in  1878.     Amongst  his  works  are  : 

Apotheosis  of  the  Greek  War  of  Independence.  The 
Metropolitan  blessing  the  Greek  Banners  (Munich 
Pinakothek).     The  Camp  of  Karaiskakis. 

BRYULOV,  Karl  Pavlovitch,  an  historical 
painter,  was  born  at  St.  Petersburg  in  1799.  He 
received  his  first  instructions  at  the  Academy  there 
under  Ivanov,  and  obtained  notice  in  1819  by 
a  'Narcissus.'  In  182.3  he  proceeded  to  Rome, 
where  he  copied  for  the  Czar  Raphael's  '  School 
of  Athens,'  and  produced  his  own  picture  '  The 
Last  Day  of  Pompeii,'  now  in  the  Hermitage 
Gallery,  which  was  followed  by  'The  Murder  of 
Ines  de  Castro.'  He  now  became  court  painter, 
as  well  as  member  of  the  Academies  of  St.  Peters- 
burg, Milan,  and  Bologna.  After  his  return  he 
executed  a  number  of  genre  pictures  and  portraits 
in  oil  and  aquarella.  In  1835  he  travelled  in 
Greece,  Turkey,  and  Palestine,  where  he  painted  a 
number  of  landscapes  which  were  included  in 
Davidov's  '  Travels.'  Further  on  he  executed  an 
'  Ascension  of  Christ '  in  the  cathedral  of  St. 
Petersburg.  He  died  in  1853  at  Marciano,  near 
Rome. 

BUCHAN,  Henry  David  Eeskine,  Earl  of, 
who  was  born  in  1710,  and  died  in  1767,  practised 
engraving  as  an  amateur  with  some  success.  He 
engraved  various  views  and  portraits. 

BUCHHORN,  Karl  Lddwig  Bernhard  Chris- 
tian, was  an  engraver  born  at  Halberstadt  in  1770. 
He  was  a  professor  of  the  art  of  engraving  in 
Berlin.     He  died  in  1856.     Among  his  best   en- 


gravings are  those  of  '  Christ  blessing  the  Bread,' 
after  Dolci ;  '  Martin  Liither,'  after  Cranach  (1806) ; 
and '  Psyche  and  Cupid,'  after  Angelica  Kauffmann 
(1801). 

BUCK,  Adam,  who  was  born  at  Cork,  exhibited 
portraits  in  crayon  and  oil,  as  well  as  miniatures, 
at  the  Royal  Academy  very  frequently  between 
1795  and  1833.  He  is  best  known  by  his  work, 
'Paintings  on  Greek  Vases,'  containing  100  plates 
drawn  and  engraved  by  himself,  and  published 
in  1812. 

BUCK,  Samuel,  and  Nathaniel.  These  brothers 
are  known  by  the  great  number  of  plates  they 
engraved  of  views  of  the  antiquities,  ruins  of 
churches,  castles,  &c.,  in  England  and  Wales.  The 
number  of  their  plates  is  near  500.  Samuel  Buck 
died  in  1779  aged  83;  his  brother  some  years 
before  him. 

BUCKLER,  John  Chessel,  a  painter  of  land- 
scapes and  topographical  subjects,  was  born  at  Cal- 
bourne  in  the  Isle  of  Wight  in  1770.  Early  in  life 
he  was  articled  to  an  architect  and  surveyor  in 
Southwark,  and  afterwards  practised  those  pro- 
fessions on  his  own  account  until  1826,  when  he 
resigned  them  to  his  eldest  son.  In  1797  he  pub- 
lished two  aquatint  engravings  of  Magdalen  Col- 
lege, Oxford,  and  in  1799  a  '  View  of  Lincoln 
Cathedral  from  the  South-east,'  and  thus  originated 
the  publication  of  the  series  of  English  cathedrals 
(in  plates  twenty-four  inches  by  seventeen),  which 
occasioned  their  author  a  considerable  share  of  pro- 
fessional credit  and  public  reputation.  Contempora- 
neously with  these,  and  at  intervals  until  the  year 
1819,  he  published  views  of  many  of  our  finest  col- 
legiate and  abbey  churches,  complete  sets  of  which 
are  now  rare  and'valuable.  In  1827  he  published 
'  Sixty  Views  of  Endowed  Grammar  Schools,'  and 
in  1847  'A  History  of  the  Architecture  of  St. 
Alban's  Abbey.'  He  exhibited  water-colour  draw- 
ings at  the  Royal  Academy  almost  every  year 
from  1790  till  1840.  Examples  are  in  the  South 
Kensington  Mu.seum.  His  death  occurred  in  Lon- 
don in  1851. 

BUCKSHORN,  Joseph.    See  Boeshooen. 

BUCOURT,  Philibert  Lodis  de,  a  French 
painter  and  engraver,  was  born  in  Paris  in  1755, 
and  became  a  pupil  of  Vien.  He  executed  a 
few  plates  in  mezzotint ;  the  '  Heureuse  famille,' 
the  '  Benediction  de  la  mariee,'  and  the  '  Cruche 
cassee,'  after  his  own  designs.  But  his  attention 
was  chiefly  given  to  engraving  in  aquatint,  in 
which  he  produced  his  chefs-d'oeuvre  after  Carle 
Vernet,  the  '  Horse  frightened  by  a  Lion,'  the 
'  Horse  frightened  by  Lightning,'  the  '  Strayed 
Huntsman,'  and  other  subjects.  Bucourt,  who 
was  for  some  years  assisted  by  his  pupil  and 
nephew,  M.  Jazet,  died  at  Belleville  in  1832. 

BUDJD,  George,  was  an  English  artist  of  whom 
little  is  known.  He  painted  portraits,  landscapes, 
and  still-life.  There  is  a  portrait,  engraved  after 
him  by  McArdell,  of  Timothy  Bennett,  the  so-called 
patriotic  shoemaker  of  Hampton  Wick,  who  suc- 
cessfully opposed  the  Princess  Amelia  in  obtaining 
a  passage  through  Bushey  Park  ;  it  was  published 
in  1756. 

BUECKELAER,  Joachim,  (Beukelaar,  or 
Bedcklaer,)  was  born  at  Antwerp  in  1530.  He 
was  the  nephew  of  Pieter  Aartszen,  by  whom  he  was 
instructed.  His  pictures,  like  those  of  his  uncle, 
represent  market-places,  fairs,  and  the  interiors  of 
kitchens,  with  figures,  dead  game,  fish,  fruit,  &c. 
They  were   much   admired,   although    Descamps 

207 


I 


A  BIOGRAPHICAL  DICTIONARY  OF 


states  that  he  was  so  poorly  paid  for  them  that 
he  lived  in  poverty.  He  is  registered  in  the  Guild 
at  Antwerp  as  early  as  1560,  and  he  was  still 
living  in  1573,  and  if  the  date  on  a  '  Christ  healinj; 
the  Sick '  hy  him  in  the  Hermitage  at  St.  Peters- 
burg is  genuine,  he  was  still  living  in  1575.  The 
Munich  Gallery  has  by  him  a  'Fish-market'  and 
a  '  Christ  before  Pilate,'  in  which  the  persons  wear 
the  costume  of  the  time  of  the  painter  ;  it  is  signed 
with  a  B  and  dated  1561,  and  in  the  Belvedere, 
Vienna,  is  a  '  Market-place  '  of  the  year  1567. 

BURI,  Friedbich,  who  was  bom  at  Hanau  in 
1763.  studied  first  under  his  father,  who  was  a 
goldsmith  and  professor  in  the  Academy  of  Design 
in  Hanau,  and  then  with  Tischbein.  In  1780  he 
visited  Diisseldorf,  and  two  years  later  went  to 
Rome ;  thence  to  Dresden,  and  finally  settled  at 
Berlin,  where  he  was  patronized  by  the  Queen  of 
Prussia.  He  painted  historical  pictures  and  por- 
traits. A  •  Cupid  triumphant '  by  him  is  in  the 
Hagije  Gallery. 

BURKEL,  Heisbich,  a  genre  and  landscape 
painter,  was  born  in  1802  at  Pirmasens,  in  Rhenish 
Bavaria.  He  was  designed  for  trade,  but  devoted 
every  spare  minute  to  drawing.  His  father's 
house,  being  an  inn,  presented  him  with  subjects 
in  great  variety,  and  so  early  as  his  eleventh 
year  he  came  into  conflict  with  the  police  on  ac- 
count of  a  caricature  of  Napoleon.  At  fifteen  he 
entered  the  law,  but  at  twenty  he  was  incited  to 
turn  to  art,  and  learned  the  technicalities  of  oil- 
painting  among  friends  at  Munich,  Schleissheim, 
and  in  the  Netherlands.  In  time  he  took  to  depict- 
ing popular  and  military  scenes,  cattle,  and  land- 
scapes, especially  winter  landscapes.  He  spent 
from  1823  to  1832  in  Rome,  and  became  on  his 
return  a  popular  artist,  famous  for  imagination 
and  humour.  He  was  an  honorary  member  of 
the  Academies  of  Munich,  Dresden,  and  Vienna. 
His  death  occurred  at  Munich  in  1869.  Among  his 
best  productions  may  be  noted  : 

Twenty  Winter  Landscapes  in  the  Tyrol  {Paris  Ex- 
hibition, 1S67). 

Eighteen  Views  of  the  Environs  of  Kome  (Fan's  Ex- 
hibition, 1867). 

A  Troop  of  Bandits  in  the  Campagna. 

The  Overturned  Hay-Waggon. 

Ketum  from  the  Bear-Hnnt. 

The  Mule-Driver's  Rest. 

The  Reception  of  the  Rifle-"Wlnner. 

Italian  Landscape  and  others  (in  the  New  Ptnakothek, 
Munich). 

A  Tirolese  Fair  (in  the  Berlin  Gallery). 

Landscape  near  Velletri  (in  the  Berlin  Gallery). 

BUFF,  Sebastian',  a  Swiss  portrait  painter,  was 
born  about  1828.  He  studied  at  Munich  and  Paris, 
and  besides  portraits  painted  genre  pictures  which 
are  much  sought  after.    He  died  at  Herisau  in  1880. 

BUFFAGNOTTI,  Cablo  Antonio,  was  a  painter 
of  perspective  and  theatrical  decorations  at  Bologna 
and  Genoa  about  1690.  He  engraved  a  series 
of  architectural  subjects,  and  decorations  for  the 
theatre,  after  F.  Bibiena,  and  others  of  the  same 
kind  after  M.  A.  Chiarini. 

BUFFALMACCO.     See  Buonamico. 

BUFFORD,  RoBEBT.     See  Burfobd. 

BUGATTI,  Zanetto,  was  living  in  the  15th 
century,  and  painted  the  portraits  of  Ippolita 
Sforza,  sent  to  France  in  1450 ;  and  of  Bona  of 
Savoy,  painted  for  Galeazzo  Maria  Sforza  in  1467. 
In  1473  he  painted  the  portraits  of  Galeazzo,  his 
wife,  and  his  child  that  are  placed  in  the  choir  of 
San  Celso,  Milan.  His  latest  known  work  was  the 
208 


frescoes  in  Santa  Maria  delle  Grazie,  Vigevano. 
Records  remain  of  him  up  to  1476,  but  the  date  of 
his  death  is  uncertain. 

BCGEY,  — ,  a  French  engraver  -who  flourished 
about  the  middle  of  the  18th  century,  was  princi- 
pally employed  in  engraving  portraits  for  the 
booksellers.  There  is  by  him  a  portrait  of  Marshal 
de  Broglie,  on  horseback,  after  Alexis  Loir,  dated 
1761. 

BUGIARDINI,  GiULlANO,  who  -was  bom  near 
Florence  in  1475,  first  studied  in  the  garden  of 
the  Medici,  where  he  made  the  acquaintance  of 
Michelangelo,  with  whom  he  continued  an  intimacy 
throughout  his  life,  and  with  him  he  entered  the 
atelier  of  Ghirlandajo ;  he  afterwards  became  an 
assistant  of  Albertinelli,  and  was  employed  by 
Michelangelo  in  the  Sistine  Chapel  at  Rome  in 
1508.  Owing  to  the  fact  that  he  worked  much 
for  other  artists,  and  sometimes  completed  de- 
signs by  them,  there  is  but  little  originality  in 
the  works  of  Bugiardini.  though  they  possess  many 
excellent  qualities,  which  have  led  to  their  being, 
in  some  cases,  classed  under  the  names  of  greater 
artiste.  They  display  a  careful  study  of  the  works 
of  Raphael,  Michelangelo,  Albertinelli,  and  Leo- 
nardo. Bugiardini  died  at  Florence  in  1554.  The 
following  is  a  list  of  a  few  of  his  most  import- 
ant works,  which  are  usually  signed  Jul.  Flob. 
(Florentinus)  : 

Berlin.  Museum.     Madonna  and  Child,  with  Saints 

{signed  Jvl.  Flob.  Fac). 
Bologna.  Pinacoteca.     Marriagecf  St.  Catharine(«'jn<rf). 
Florence.  XJffizi.    Madonna    and   Child    {formerly 

ascribed  to  Leonardo). 
„   Cappella  Sucel-'i  Martyrdom  of  St.  Catharine.  His 
lai  in  S.  Maria  >     most  important  work  (from   a 
Novella.  J      design  by  Michelangelo). 

London.      Xat.  Gall.     Madonna,  St.  John,  and  Angels. 
Lucca,    Mansi  Col/ec-     Holy  Family   {signed    and  dated 

tion.         1520). 
Modena.  Gallery.     Madoima  and  St.  John. 

Oldenburg.     Gallery.     St.  Scbasti^in. 

(See  Crowe  and  Cavalcaselle, 
III.  p.  493,  «««£}.) 

BUGUET,  Hen-bf,  a  French  historical  and  por- 
trait painter,  was  bom  at  Fresne  (Seine-et-Mame) 
in  1761.  He  was  a  pupil  of  David,  and  painted  in 
1817  for  the  chateau  of  Pau  '  Francis  I.  knighted 
bj'  Bayard.'  His  portraits  of  Louis  XVIII.  and 
Charles  X.  have  been  engraved  by  Bertrand.  He 
died  in  Paris  about  1833. 

BUISEX,  A.  VAX,  (or  Butsen,)  was  a  native  of 
Holland,  and  flourished  from  1700  till  about  1725. 
He  was  chiefly  employed  in  engraving  for  the 
booksellers,  and  appears  to  have  resided  some  time 
in  England,  as  he  engraved  a  plate  represenitng 
'  David  pla_\-ing  on  the  Harp,'  for  the  octavo 
edition  of  Cowley's  'Poems,'  published  in  1700. 
He  also  engraved  some  of  the  plates  for  the  work 
entitled  '  Figures  de  la  Bible,'  from  the  designs  of 
Picart  and  others,  published  at  Amsterdam  in 
1720. 

BULARCHDS.  The  earliest  picture  of  which 
the  ancient  writers  have  given  a  description  is 
'  The  Battle  of  the  Magnesians,'  painted  by  this 
artist,  who  appears  to  have  flourished  about  720 
years  before  the  Christian  era,  as,  according  to 
Pliny,  this  picture  was  purchased  for  as  much  gold 
as  would  cover  its  surface  by  Candaules,  King  of 
Lydia,  who  died  about  700  years  before  Christ. 
After  Bularchus  we  encounter  a  gap  of  upwards 
of  two  centuries  and  a  half  in  the  history  of  paint- 
ing.    It  appears,  however,  that  it  was  practised 


PAINTERS  AND  ENGRAVERS. 


with  success  in  the  island  of  Rhodes,  at  the  time 
of  Anacreon,  who  lived  about  500  years  before  our 
era.  That  poet,  in  his  twenty-eighth  and  twenty- 
ninth  Odes,  mentions  the  practice  of  the  art  called 
encaustic  painting,  and  that  it  was  effected  by 
mixing  wax  with  the  colours. 

BOLLINGER,  Johann  Balthasar,  a  Swiss  land- 
scape painter,  was  born  at  Langnau,  in  the  canton 
of  Zurich,  in  1713.  He  was  first  a  scholar  of  John 
Simler,  but  afterwards  went  to  Venice,  where  he 
studied  two  years  under  Giovanni  Battista  Tiepolo. 
He  first  attempted  historical  painting,  but  his 
natural  genius  led  him  to  landscapes,  and  he  be 
came  very  eminent  in  that  branch  of  the  art.  He 
afterwards  passed  some  time  at  Amsterdam,  where 
he  appears  to  have  studied  with  attention  the 
works  of  the  best  artists  of  the  Dutch  school,  par- 
ticularly Both  and  Berchera,  whose  manner  he 
imitated.  He  died  at  Zurich  in  1793.  He  etched 
several  plates  in  a  free,  painter-like  style,  the  fol- 
lowing being  the  principal : 

The  Portrait  of  J.  B.  Bullinger ;  se  ipse  fee. 

A  Frontispiece,  with  a  number  of  Genii. 

Two  Mountainous  Landscapes,  with  figures. 

A  set  of  fifty  Landscapes  ;  some  from  his  own  designs, 

and  the  others  after  J.  F.  Ermels  and  F.  Meyer. 
A  Head;  after  Le  Brun;  engraved  for  Lavater's  "NYork. 

BUMEL,  Michael,  (or  Bimel,)  was  a  German 
engraver  of  little  celebrity.  He  engraved  several 
plates,  representing  Saints,  and  other  devotional 
subjects,  which  are  executed  with  the  graver,  with 
sufficient  neatness,  but  in  a  stiff,  tasteless  style. 

BDMOT,  ,  was  a  French  historical  painter, 

who  was  called  '  The  Apelles  of  Nevers.'  He  was 
anative  of  Nevers,  and  worked  at  Bourges  in  1576, 
for  the  fetes  held  upon  the  occasion  of  the  entry 
of  the  Duke  of  Alen9on. 

BDNBURY,  Henry  William,  a  designer  of 
humorous  subjects  and  caricatures,  was  the  son 
of  Sir  William  Bunbury  of  Mildenhall,  Suffolk. 
He  was  born  in  1750,  and  was  an  occasional  exhibitor 
at  the  Royal  Academy,  and  contributed  to  Boy- 
dell's  '  Shakespeare.'  His  '  Florizel  and  Autolycus 
changing  garments  '  is  in  the  South  Kensington 
Museum.  His  '  Hints  to  Bad  Horsemen  '  obtained 
for  him  great  popularity,  and  the  praise  of  Sir 
Joshua  Reynolds.     He  died  at  Keswick  in  1811. 

BUNDSEN,  Jess,  architectural  and  landscape 
painter  and  etcher,  was  born  at  Assens  in  1766. 
He  attended  the  Academy  of  Copenhagen  in  1786, 
and  studied  also  in  Dresden,  after  which  he  became 
a  teacher  of  drawing  and  a  painter  in  Hamburg 
and  Altona.  He  died  at  the  latter  town  in  1829. 
He  chiefly  painted  views  in  the  vicinity  of  these 
places,  as  well  as  interiors  of  churches.  He  etched 
several  plates  in  outline,  and  also  practised  litho- 
graphy to  some  extent. 

BDNEL,  FRANgois,  a  French  historical  pamter, 
flourished  at  Blois  in  1550.  He  was  a  distinguished 
artist,  who  painted  many  religious  subjects  for 
churches. 

BDNEL,  Jacques,  son  and  pupil  of  Francois 
Bunel,  was  bom  at  Blois  in  1558.  He  studied  at 
Rome  under  Federigo  Zuccaro,  and  on  returning  to 
France  was  made  painter  to  the  king,  and  worked 
with  Pourbus  and  Toussaint  du  Breuil  in  the  small 
gallery  of  the  Louvre,  burnt  in  1661.  He  was  an 
artist  of  great  merit,  and  held  in  much  esteem  by 
Henri  IV.,  who  employed  him  at  Fontainebleau 
and  other  royal  residences.  He  painted  'The 
Descent  of  the  Holy  Ghost '  for  the  chapel  of  that 
order  in  the  church  of  the  Grands  Augustins  at 
p 


Paris,  and  for  the  church  of  the  Feuillants  an 
'  Assumption  of  the  Virgin,'  now  in  the  Museum 
at  Bordeaux,  both  of  which  pictures  have  been 
highly  praised.  Philip  II.  of  Spain,  by  whom 
likewise  he  was  esteemed,  commissioned  him  to 
paint  for  the  cloister  of  the  Escorial  forty  pictures, 
all  of  which  have  now  disappeared.  He  died  in 
Paris  in  1614. 

BDNNEY,  John  Wharlton,  painter,  born  in 
1808,  was  an  English  artist  practising  at  Venice. 
In  1873,  1879,  and  1881  he  exhibited  views  of 
Venice  at  the  Royal  Academy.  For  the  last  four 
years  of  his  life  he  was  engaged  in  an  elaborate 
and  minutely-finished  transcript  from  the  west 
front  of  St.  Mark's,  on  a  commission  from  Mr. 
Ruskin.     He  died  at  Venice,  Sept.  23,  1882. 

BUNNICK,  Jacob  van,  was  the  brother  of  Jan 
van  Bunnick,  and  painted  battle-pieces  with  some 
reputation,  but  was  greatly  inferior  to  his  brother. 
He  died  in  1725. 

BUNNICK.  Jan  van,  a  Dutch  landscape  painter, 
was  born  at  Utrecht  in  1654.  He  was  a  scholar  of 
Hermann  Saftleven,  under  whom  he  studied  tliree 
years ;  he  afterwards  visited  Italy.  He  passed 
some  time  at  Genoa,  where  he  formed  an  acquaint- 
ance with  Tempesta,  by  whom  he  was  assisted  in 
his  studies.  On  his  arrival  at  Rome  he  found 
several  of  the  artists  of  his  country,  particularly 
Abraham  Genoels  and  Ferdinand  Voet,  who  re- 
ceived him  with  kindness.  On  leaving  Rome  he 
went  to  Modena,  and  the  duke  appointed  him  his 
principal  painter,  and  he  passed  eight  years  in  his 
service.  On  his  return  to  Holland  he  was  employed 
by  King  William  III.,  then  Prince  of  Orange,  to 
ornament  his  palace  at  Loo.     He  died  in  1727. 

BUONACCORSI,.PiETRo,  (called  Bering  del 
Vaga,  after  one  of  his  instructors  in  art,)  was  born 
at  a  village  near  Florence  in  1500  of  very  indigent 
parents,  whom  he  lost  while  he  was  still  young. 
He  was  taken  under  the  protection  of  an  artisan 
named  Andrea  de'  Ceri,  whose  house  was  frequented 
by  several  young  artists  of  Florence.  At  an  early 
age  Perino  showed  a  decided  inclination  for 
art,  and  when  he  was  eleven  years  old  was  placed 
under  the  tuition  of  RidoLfo  Ghirlandaio,  by  whose 
instruction  he  became  an  expert  and  correct  de- 
signer. He  had  made  considerable  progress,  when 
his  talents  were  noticed  by  Vaga,  who  conducted 
him  in  1515  to  Rome,  where  he  had  an  opportunity 
of  studying  after  the  antique,  and  the  works  of 
Michelangelo.  His  merit  became  known  to  Giulio 
Romano  and  Penni,  by  whom  he  was  recommended 
to  Raphael,  who  employed  him  in  the  execution  of 
his  designs  in  the  Loggie  of  the  Vatican.  Such 
was  the  force  and  variety  of  his  powers,  that  he 
was  equally  successful  in  assisting  Giovanni  da 
Udine  in  the  stucco  and  grotesque  ornaments, 
Polidoro  da  Caravaggio  in  his  antique  subjects  in 
chiaroscuro,  and  in  executing  the  Biblical  subjects 
from  the  designs  of  Raphael.  He  is  ranked  by 
Vasari  as  the  greatest  designer  of  the  Florentine 
school  after  Michelangelo ;  and  the  partiality  of 
that  biographer  does  not  hesitate  to  pronounce  him 
the  most  distinguished  of  the  disciples  of  Raphael. 
After  the  death  of  that  master  he  was  employed  by 
Leo  X.  and  Clement  VII.,  in  conjunction  with 
Giulio  Rnmano  and  Penni,  to  finish  the  great  works 
in  the  Vatican.  One  of  his  earliest  productions 
was  a  picture  painted  for  the  church  of  San  Mar- 
cello,  representing  the  '  Creation  of  Eve,'  in  which 
he  shows  with  what  success  he  had  studied  the 
works  of  Michelangelo. 

209 


A  BIOGRAPHICAL  DICTIONARY  OF 


On  the  sacking-  of  Rome  in  1527,  compelled  to 
flee  from  the  capital,  and  plundered  of  all  he  pos- 
sesaed,  Perino  took  refuge  in  Genoa,  where  he  was 
gpraciously  received  by  Prince  Doria,  who  employed 
him  to  decorate  his  palace,  near  the  gate  of  St. 
Thomas.  It  was  upon  this  occasion  that  Perino 
displayed  the  extent  of  his  powers  and  the  fecun- 
dity of  his  invention  ;  and  it  has  been  made  a 
matter  of  dispute  whether  the  decorations  of  the 
Palazzo  del  Te  at  Mantua,  by  Giulio  Romano,  or 
those  of  the  Doria  Palace  at  Genoa,  by  Del  Vaga, 
do  more  honour  to  the  great  school  in  which  they 
were  educated.  In  one  of  the  apartments  Perino 
represented  Jupiter  destroying  the  Giants  ;  and  in 
others,  several  subjects  from  Roman  history  and 
the  Metamorphoses  of  Ovid.  He  also  designed  a 
series  of  cartoons  of  the  History  of  .Silneas.  These 
frescoes,  which  were  in  a  great  measure  executed 
from  his  designs  by  his  assistants,  have  nearly 
perished  owing  to  time  and  whitewash.  After  a 
stay  of  some  years  at  Genoa,  Perino  returned  to 
Rome,  where  he  was  employed  by  Pope  Paul  III. 
Towards  the  close  of  his  life,  his  pictures  were  in 
such  request  that  he  merely  made  the  designs,  leav- 
ing the  execution  of  them  to  his  pupils,  among 
whom  may  be  mentioned  Pantaleo  Calvi  and  Laz- 
zaro,  painters  of  no  great  merit.  Perino  died  at 
Rome  in  1547— it  is  said  that  he  hastened  his  end 
by  intemperance — and  was  buried  by  the  side  of 
Raphael  and  other  great  masters  in  the  old  Pan- 
theon. His  pictures  are  occasionally  seen  in  the 
Galleries  of  Europe,  but  they  are  not  very  import- 
ant. The  Duke  of  Devonshire  has  drawings  by 
him,  and  a  portrait  of  Cardinal  Pole  is  at  Althorp. 

BUONAMICI,  Agostino,  called  A.  Tassi  (or 
Tasst),  was  born  at  Perugia  in  1565,  and  studied 
at  Rome  under  Paul  Bril,  although  he  was  desirous 
of  being  considered  a  disciple  of  the  Carracci.  He 
painted  landscapes  in  the  style  of  bis  instructor, 
and  of  Donducci,  and  was  considered  one  of  the 
ablest  artists  of  his  time.  Lanzi  informs  us  that 
for  some  crime,  which  is  not  mentioned,  he  was 
sent  to  the  galleys  at  Leghorn.  During  the  term 
of  his  confinement  he  occupied  himself  in  design- 
ing the  maritime  objects  with  which  he  was  sur- 
rounded, and  after  his  liberation  they  became  the 
favourite  subjects  of  his  pictures.  He  painted 
with  great  success  sea-ports  and  calms,  with  ship- 
ping and  fishing-boats.  His  tempests  and  storms 
at  sea  were  not  less  happily  represented,  and  were 
touched  with  unusual  spirit  and  energy.  He  also 
excelled  in  architectural  and  perspective  views,  in 
which  he  distinguished  himself  by  some  admirable 
productions  in  the  pontifical  palace  of  Monte  Ca- 
vallo,  and  in  the  Palazzo  Lancellotri.  He  was  one 
of  the  first  to  copy  arabesques  from  the  anrique, 
and  employ  them  as  borders.  Agostino  Tassi  has 
the  credit  of  having  been  the  instructor  of  Claude 
Lorrain.  He  died  at  Rome  in  1644.  We  have  a 
few  slight  but  spirited  etchings  by  this  artist,  repre- 
senting storms  at  sea  and  shipwrecks. 

BUONAMICO,  Cbistofani,  (called  Buffal- 
MAOCO,)  who  was  born  in  1262,  was  a  pupil  of 
Andrea  Tafi.  Rumohr  and  Kugler  and  many 
other  writers  have  doubted  his  existence,  but  his 
name  has  been  discovered  in  the  register  of  the 
Florentine  Company  of  Painters,  with  the  date 
1351  ('Crowe  and  Cavalcaselle,'  vol.  i.  p.  387, 
note).  Boccaccio  nicknames  him  Buffalmacco, 
and  some  suppose  that  the  Buonamico,  used  by 
Qhiberti,  is  a  nickname  also.  Vasari  mentions 
many  works  by  BufEalmacco,  few  of  which  still 
210 


remain,  and  of  these  the  majority  are  said  to  be  by 
other  artists.  He  adds  that  Buffalmacco,  when  he 
chose,  could  paint  as  well  as  any  of  his  contempor- 
aries. Moat  absurd  stories  have  been  related  of 
this  artist  by  Vasari,  and  by  Boccaccio  in  his 
'  Decameron.'  He  seems  to  have  been  a  man  with 
a  keen  sense  of  humour.  Vasari  states  that  be 
died  in  1340,  but  Baldinucci  says  that  he  was  still 
living  in  1351,  as  indeed  the  entry  in  the  register 
of  the  Florentine  Painters  proves. 

BUONARROTI,  Michelangelo.  Michelangelo, 
the  supreme  master  of  Italian  art.  was  bom  at 
Castel  Caprese,  a  small  fortified  town  ijear  Florence, 
on  March  6,  1475.  The  family  of  Buonarroti  was 
an  old  one  in  Italy,  but  Condivi's  statement  as  to 
Michelangelo's  descent  from  the  Counts  of  Canossa 
is  not  found  to  be  supported  by  genealogical 
evidence,  though  Michelangelo  and  Count  AUes- 
sandro  da  Carnossa  pleased  themselves  with 
believing  it.  His  father  Lodovico,  son  of  Leonardo 
Buonarroti  Simoni,  was  acting  at  the  time  of  his 
son's  birth  as  Podesta,  or  chief  magistrate  of 
Caprese,  but  he  was  soon  after  recalled  to  Florence, 
where,  after  a  babyhood  spent  at  Settignano  under 
the  care  of  a  stone-mason's  wife,  the  little  Michel- 
angelo was  brought  up,  receiving  education  at  a 
grammar  school  kept  by  a  certain  Francesco  da 
Urbino. 

His  passion  for  art  was  early  evinced.  He  had 
imbibed  it,  he  was  wont  to  declare,  "with  his 
nurse's  milk"  ;  at  all  events  it  could  not  be  over- 
come even  by  blows,  which  it  is  said  were  some- 
times tried,  and  by  the  time  he  was  thirteen  his 
father,  giving  up  all  hope  of  inducing  him  to 
follow  the  more  profitable  woollen  trade,  wisely 
acceded  to  his  desire  for  art,  and  no  doubt  did  the 
best  he  could  for  him  by  apprenticing  him  for 
three  j-ears  from  the  1st  of  April,  1488,  to  the 
painters  Domenico  and  David  Ghirlandaio,  whose 
school  was  at  that  time  the  best  in  Florence.. 

It  appears  by  the  terms  of  his  apprenticeship 
that  the  young  Michelangelo  must  even  then  have 
known  sufficient  to  be  useful  to  his  masters,  for 
they  undertook  to  pay  him  a  small  sum  during  the 
first  year  of  his  apprenticeship,  which  was  not 
usual.  Very  soon  his  progress  was  so  great  that, 
according  to  Vasari,  it  excited  his  master's  envy, 
who  exclaimed  once  on  seeing  a  drawing  made  by 
Michelangelo  of  some  scaffolding  in  Santa  Maria 
Novella,  "  This  boy  knows  more  than  I  do ; " 
"  standing  Ln  amaze,"  adds  -Vasari,  "  at  the  origin- 
ality of  manner  which  Heaven  had  bestowed  on 
such  a  mere  child."  His  first  painting  is  said  to 
have  been  an  excellent  copy  of  Martin  Schongauer'a 
celebrate  1  print  of '  The  Temptation  of  St.  Anthony,' 
in  which  the  details  of  the  devil- forms  were  coloured 
from  marine  creatures  studied  in  the  fish-market, 
and  he  probably  copied  other  forms  with  equal  skiU. 

But  although  educated  in  a  school  of  painting,  it 
is  probable  that  he  early  showed  some  impulse 
towards  sculpture,  or  Domenico  Ghirlandaio  would 
scarcely  have  presented  him,  as  he  did  before  hia 
apprenticeship  was  out,  to  Lorenzo  de'  Medici,  who 
at  that  time  had  just  founded  a  school  of  sculpture, 
of  which  Bertoldo,  the  foreman  of  Donatello,  was 
keeper,  in  the  garden  of  his  villa.  Michelangelo' 
was  admitted  to  this  Medicean  school  or  Academy 
of  Art  in  1489,  and  achieved  as  one  of  his  first 
works  in  marble  the  remarkable  '  Mask  of  a  Faun,' 
a  copy  from  the  antique,  concerning  which  Vasari 
relates  the  story  of  Lorenzo  pointing  out  to  the 
young  sculptor  that  old  people  seldom  retain  all 


PAINTERS  AND  ENGRAVERS. 


their  teeth,  and  Michelangelo'promptly  acting  upon 
the  suggestion.  Whatever  may  be  the  truth  of 
this  story,  it  is  certain  that  Michelangelo  early 
attracted  the  notice  of  the  magnificent  Lorenzo, 
who  saw  in  hira  so  much  promise  that  he  proposed 
to  his  father  that  he  should  become  an  inmate  of 
the  Medici  Palace,  ofEering  to  charge  himself  with 
his  education  and  to  make  him  an  allowance  of 
five  ducats  a  month.  The  offer  was  too  good  to 
be  refused,  and  Michelangelo  passed  four  happy 
years  in  the  service,  or  rather  we  may  say  in  the 
society,  of  Lorenzo,  perfecting  himself  in  his  art 
and  gaining  a  valuable  education  by  his  associa- 
tion with  some  of  the  great  men  whom  Lorenzo 
gathered  around  him.  Agnolo  Poliziano  was  one 
of  these,  who  took  especial  notice  of  the  young 
artist,  and  it  was  by  his  advice  and  instruction, 
according  to  Vasari,  that  Michelangelo  executed 
his  relief  in  marble  of  '  Hercules  and  the  Centaurs,' 
an  early  work  still  preserved  in  the  Casa  Buonar- 
roti. It  was  at  this  time  also  that  he  had  his  nose 
broken  by  his  fellow-student  Pietro  Torregiani,  an 
injury  which  marked  him  for  life. 

In  1492  this  pleasant  period  of  instruction  under 
the  Medici  was  brought  to  an  end  by  the  death  of 
his  munificent  patron  Lorenzo,  and  Michelangelo, 
then  seventeen,  returned  to  his  father's  house  and 
set  up  a  studio  for  himself,  his  first  work  being  a 
statue  of  '  Hercules,'  bought  by  one  of  the  Strozzi 
family,  and  afterwards  sent  into  France,  but  since 
lost  to  knowledge. 

Piero  de'  Medici,  who  succeeded  his  father 
Lorenzo,  was,  as  history  records,  a  man  of  totally 
different  powers.  He  extended  his  friendship  to 
Michelangelo,  it  is  true,  but  he  employed  him  only 
on  unworthy  commissions,  on  one  occasion  even 
directing  him,  it  is  said,  to  make  a  statue  of  snow. 
Piero,  however,  by  his  vices  and  misgovernment 
soon  disgusted  Florence,  and  Michelangelo,  per- 
ceiving his  downfall  was  at  hand,  wisely  left  his 
protection  and  took  his  way  to  Bologna,  there  to 
work  on  the  shrine  of  San  Domenico  and  wait  till 
the  Florentine  storm  which  he,  or  perhaps  his 
father,  noted  as  coming,  was  over. 
'  When  peace  was  restored  Michelangelo  returned 
to  Florence,  where  he  executed  a  figure  of  a 
'  Sleeping  Cupid,'  to  which  he  gave  an  appearance 
of  antiquity,  so  that  it  was  sold  by  a  dealer  in 
Rome  to  the  Cardinal  San  Giorgio  as  a  genuine 
antique.  This  deceit,  innocently  undertaken  on  the 
part  of  Michelangelo,  being  afterwards  discovered 
by  the  Cardinal,  led  to  his  inviting  the  young  artist 
to  Rome  and  assuring  him  of  his  protection. 

Michelangelo  entered  Rome  on  the  25th  of  June, 
1496.  Here  he  carved  the  '  Bacchus,'  now  in  the 
National  Museum  in  the  Bargello,  and  soon  after 
the  noble  '  Pieti '  of  St.  Peter's,  executed  between 
the  years  1499  and  1500.  These  works  raised  him 
to  the  position  of  the  greatest  sculptor  in  Italy,  and 
when  in  1501  he  returned  to  Florence,  he  received 
a  commission  for  a  great  national  work,  namely, 
the  colossal  statue  of  David.  In  this  grand  statue, 
typical  of  the  deliverance  of  Florence  from  her 
enemies,  Michelangelo,  now  arrived  at  his  full 
strength,  put  forth  all  his  powers.  The  moment 
chosen  for  representation  is  that  in  which  the 
youthful  deliverer  replies  to  the  taunts  of  the 
Philistine  in  the  words,  "  I  come  to  thee  in  the 
name  of  the  Lord  of  Hosts,"  and  the  whole  bearing 
of  David  is  expressive  of  unshrinking  resolution 
and  patriotic   desire.     Well   may   Florentines   be 

(i   of  such   a  possession.     It  stood  grandly 


before  their  Palazzo  Vecchio,  where  it  was  first 
erected,  for  more  than  three  centuries  and  a  half, 
until  in  1873  it  was  deemed  necessary  to  remove 
it  under  cover  for  protection  from  weather  and 
decay.  It  now  stands  in  the  Academy  of  Fine 
Arts  in  Florence.  Other  works  of  about  this  time 
are  the  beautiful  round  relief  in  marble  in  the 
possession  of  the  Royal  Academy,  an  unfinished 
relief  of  the  same  subject. 

Soon  after  the  triumphant  erection  of  the  'David ' 
in  1504,  Michelangelo  received  the  commission 
for  another  national  work — the  painting  of  one 
wall  of  the  Palazzo  Vecchio.  Leonardo  da  Vinci 
was  employed  for  the  other  wall  and  had  already 
begun  his  cartoon.  The  subject  chosen  by  Michel- 
angelo was  an  incident  in  the  Pisan  war,  and 
represented  Florentine  soldiers  surprised  by  the 
enemy  while  bathing,  but  he  never  completely 
finished  even  the  cartoon  for  this  great  work,  for 
before  he  could  do  so  he  was  summoned  back  to 
Rome  in  great  haste  by  Julius  II.,  who,  learning 
that  Michelangelo  was  the  greatest  sculptor  living, 
forthwith  conceived  a  desire  to  secure  his  services, 
and  especially  to  employ  him  on  a  great  tomb 
which  he  contemplated  having  built  for  himself. 
The  commands  of  the  Pope  obliged  Michelangelo 
to  abandon  the  commission  given  him  by  his  friend 
Soderini,  then  Gonfaloniere  of  Florence,  for  the 
painting  in  the  great  Hall  of  Council  in  the  Palazzo 
Vecchio  of  his  beloved  Florence.  Early  in  1505, 
throwing  up  all  his  work  in  Florence,  he  returned 
to  Rome  and  began  his  work  for  "his  Medusa,"  as 
he  called  hira,  Julius  II.  That  imperious  poten- 
tate decided  to  employ  him  first  on  his  monument, 
and  the  design  for  it  being  completed  to  his  satis- 
faction, he  sent  the  sculptor  to  Carrara  to  arrange 
for  the  necessary  blocks  of  marble.  Here  he  was 
occupied  for  eight  months,  and  for  some  time  after- 
wards in  Rome,  whither  he  brought  huge  masses 
of  marble  for  the  work.  Before  anything  could  be 
achieved,  however,  the  ardour  of  Julius  for  this 
undertaking  had  greatly  abated,  and  it  was  with 
difficulty  that  Michelangelo  obtained  the  money 
from  him  to  pay  the  marble-cutters. 

In  terrible  anger  at  this,  and  also  at  not  being 
able  to  obtain  access  to  his  Holiness,  who  had 
previously  been  most  gracious  and  friendly,  Michel-  ' 
angelo  suddenly  took  flight  from  Rome,  being 
alarmed,  it  is  said,  by  threats  from  his  enemies  of 
personal  danger.  The  Pope  sent  five  couriers 
after  him  commanding  him  to  return,  but  he  rode 
on  without  stopping  until  he  was  safe  on  Florentine 
territory.  "  If  you  require  me  in  future,"  wrote 
the  haughty  artist  to  the  haughty  Pope,  "you  may 
seek  me  elsewhere  than  in  Rome."  Julius  II.  was 
not  a  man  to  submit  to  be  thus  braved  by  a 
refractory  artist,  and  at  last,  finding  his  requests 
and  commands  unavailing,  he  wrote  to  the  Signory 
of  Florence  requesting  that  he  should  be  sent  back 
to  Rome,  promising  at  the  same  time  that  he 
should  go  "  free  and  untouched,"  for  "  we  entertain 
no  anger  against  him,  knowing  the  habit  and 
humour  of  men  of  this  sort."  Even  then  Michel- 
angelo, who  seems  to  have  had  some  fear  of 
assassination,  refused  to  trust  the  Pope's  fair  pro- 
mises, and  it  was  not  until  the  Gonfaloniere  Sode- 
rini told  him  plainly  that  the  State  would  not  risk 
going  to  war  on  his  account  that  he  at  last 
returned  to  his  allegiance  to  the  Pope. 

It  was  at  Bologna,  which  town  Julius  II.  had 
entered  in  triumph  in  November  1506,  that  the 
interesting  interview  between  the  Pope  and  the 

211 


A  BIOGRAPHICAL  DICTIONARY  OF 


artist  took  place,  in  which  the  latter  graciously 
submitted  to  be  pardoned,  telling  the  Pope,  how- 
ever, at  the  same  time,  that  he  "  felt  he  had  not 
merited  the  treatment  he  had  received." 

Julius  II.,  who,  as  we  have  seen,  "  knew  the 
habit  and  humour  of  men  of  this  sort,"  and  who 
felt,  no  doubt,  that  though  he  had  twenty-four 
cardinals  in  his  train  he  had  but  one  Michelangelo, 
took  no  notice  of  his  sulky  discontent,  but  imme- 
diately employed  him  on  a  great  bronze  statue  of 
himself  to  be  set  up  over  the  church  door  at 
Bologna.  This  laborious  work,  which  occupied 
Michelangelo  two  years,  and  oost  him  much 
trouble  and  vexation,  was  soon  after  thrown  down 
by  the  enemies  of  Julius,  and  a  huge  cannon  made 
of  its  metal. 

After  this  work  was  accomplished  Michelangelo 
went  back  to  Florence  in  March  1508,  hoping 
probably  to  be  allowed  to  settle  there,  but  Julius 
II.  again  summoned  him  to  Rome,  though  not  to 
work  on  the  monument  he  had  before  undertaken, 
but  instead  to  begin  no  less  a  work  than  the  paint- 
ing in  fresco  of  the  vault  of  the  Sixtine  Chapel 
in  the  Vatican.  Everj'  one  knows  how  Michel- 
angelo accomplished  this  stupendous  task,  but  it 
was  not  without  cont-iderable  remonstrance  that 
he  began  it,  telling  the  Pope  that  "  painting  was 
not  his  Art,"  and  advising  him  to  give  the  com- 
mission to  Raphael.  But  Julius  II.,  who  was 
probably  aware  of  Michelangelo's  achievement 
of  the  cartoon  for  the  painting  in  the  Palazzo 
Vecchio,  would  hear  of  no  excuses  or  delay,  and 
the  artist  was  made,  as  we  may  say,  to  begin 
forthwith. 

Vasari's  accounts  of  the  painting  of  these  frescoes 
of  the  Sixtine  is  verj*  graphic  and  circumstantial, 
and  is  no  doubt  true  in  many  of  its  details,  though 
in  others  it  is  transparently  inaccurate.  It  has, 
however,  been  followed  submissively  b}-  aU  writers 
on  the  subject  until  modem  research  began  to 
throw  doubt  upon  its  exactness.  Heath  Wilson 
in  particular,  who  submitted  the  frescoes  of  the 
vault  of  the  Sixtine  to  the  most  careful  examin- 
ation, having  been  allowed  to  raise  a  scaffolding 
five  stages  high  for  the  purpose,  and  who  also 
made  their  history  the  subject  of  profound  study, 
proves  by  a  conclusive  chain  of  reasoning  that 
Michelangelo  could  not  possibly  have  painted 
these  works  in  the  short  space  of  time — twenty 
months — that  Vasari  assigns.  This,  if  the  amount 
of  labour  is  once  fairly  considered,  is  indeed  self- 
evident,  but  Heath  WUson  shows  from  docu- 
mentary testimony  that  Michelangelo  began  this 
work  in  the  summer  of  1508,  and  did  not  finish 
it  until  late  in  the  autumn  of  1512,  thus  giving 
a  period  of  four  years  and  some  months,  Uttle 
enough  even  so  for  the  accomplishment  of  such 
a  vast  amount  of  work.  The  story  of  his  working 
entirely  without  assistants,  "  without  even  a  man 
to  grind  his  colours,"  must  also  be  given  up, 
though  it  would  seem  that  the  amount  of  assist- 
ance he  received  was  small.  He  worked,  however, 
with  marvellous  celerity,  "  painting  a  nude  figure 
considerably  above  life-size  in  two  working  days, 
the  workmanship  being  perfect  in  every  part.  The 
colossal  nude  figures  of  young  men  on  the  cornice 
of  the  vault  at  most  occupied  four  days  each.'' 

Jnlius  II.  as  usual  was  extremely  anxious  to  see 
the  work  he  had  commissioned  finished,  and  got 
60  impatient  that  on  the  1st  of  November,  1509, 
the  scaffolding  had  to  be  removed  and  the  portion 
of  the  work  that  was  then  finished  exhibited  to  the 

212 


public.  His  enemies,  and  Bramante  in  partictilar, 
who  had  hoped  to  behold  a  failure,  were  completely 
overpowered  by  the  universal  admiration,  and 
Michelangelo  received  the  commission  to  continue 
the  work  he  had  begun. 

No  description  of  this  marvellous  work,  in 
which  Michelangelo  set  forth  in  one  great  poem 
the  history  of  the  world  in  its  early  prime  as 
told  in  the  Book  of  Genesis,  can  be  given  here. 
The  reader  will  find  an  ample  account  by  Sir 
Charles  Eastlake  in  his  '  Contributions  to  the 
Literature  of  the  Fine  Arts,'  and  g:raphic  descrip- 
tions by  Vasari  and  numerous  other  writers.  The 
Sixtine  frescoes  have  also  been  admirably  photo- 
graphed of  late  years.  The  neglect  of  these 
frescoes  was  lamentable.  "Cobwebs  hung  from 
every  part,  nails  had  been  driven  through  them 
without  remorse,  and  they  were  bo  darkened  by 
the  constant  smoke  from  tapers  that  seen  from  the 
floor  their  real  colours  were  imperceptible.  Alto- 
gether," adds  Heath  Wilson,  who  was  pathetic  on 
the  subject,  "they  are  the  greatest  existing  ex- 
amples of  barbarous  maltreatment  and  neglect." 

With  Leo  X.,  who  succeeded  Julius  II.  in  1513, 
Raphael  was  the  favoured  artist.  Michelangelo 
wished  for  nothing  better  than  to  be  allowed  to  go 
on  with  the  monument  to  Julius,  for  which  he  had 
already  executed  the  great  figure  of  Moses,  and 
the  two  well-known  statues  of  '  The  Captive,'  now 
in  the  Louvre,  and  reckoned  among  his  finest  work. 
But  although  he  received  a  fresh  commission  for 
this  work  from  the  executors  of  Julius,  difficulties 
were  always  thrown  in  his  way,  and  finally  he  was 
sent  by  Leo  X.  to  Florence  and  employed  upon  the 
front  of  San  Lorenzo,  which  the  Pope  had  deter- 
mined to  build  in  a  magnificent  style.  This  was 
certainly  an  important  work,  and  Michelangelo 
determined  to  make  it  "  whether  in  respect  of 
architecture  or  sculpture  the  masterpiece  of  all 
Italy,"  as  he  says  in  one  of  his  letters  ;  but  he  was 
kept  so  long  superintending  in  the  new  quarries  of 
Seravezza,  even  making  roads  to  them,  and  so  many 
liindrances  seem  to  have  been  purposely  put  in 
his  way,  that  in  the  end  nothing  was  accomplished. 
Indeed  the  ten  years  of  Leo's  pontificate  were 
almost  wasted  years  in  the  life  of  Michelangelo. 

Nor  was  much  accomplished  during  the  short 
reign  of  Adrian,  though  Michelangelo  for  a  time 
went  on  working  at  the  monument  to  Julius,  often 
at  his  own  cost.  But  when  Clement  VII.  became 
Pope  in  1523  a  change  took  place,  and  Michel- 
angelo was  once  more  in  request,  chiefly,  however, 
for  the  superintendence  of  various  architectural 
works,  which  Michelangelo,  who  always  regarded 
himself  as  a  sculptor,  had  little  wish  to  undertake. 

In  1527  the  terrible  sack  of  Rome  under  the 
Constable  de  Bourbon  took  place.  Michelangelo 
was  away  in  Florence  at  this  time,  where  the 
popular  party  had  again  risen  and  driven  out  the 
Medici.  This  being  the  case,  Michelangelo's  com- 
missions for  the  Medicean  Pope  remained  for  a 
time  in  abeyance,  while  he  with  patriotic  energy 
undertook  the  charge  of  fortifying  the  city  against 
his  patron,  the  Signory  having  appointed  him 
director  and  provider  over  the  works  of  defence. 
The  new  knowledge  supplied  by  the  recent  publi- 
cation of  the  Buonarroti  letters  clears  up  much 
that  formerly  seemed  inexplicable  in  his  conduct 
at  this  time.  It  is  evident  that  he  was  greatly 
trusted  by  the  Signory,  acting  for  them  not  only  as 
military  engineer,  but  likewise  being  entrusted 
with  private  missions.     One  of  these  missions,  it 


M.  A.  BUONAROTI 


MICHELANGELO 


Anderson  plwto\ 


THE  THREE  FATES 


\Pitti  Palace.  Flore 


PAINTERS  AND  ENGRAVERS. 


appears,  took  him  to  Venice  before  what  must  be 
called  his  flight  thither  in  1529.  V^hen  in  1530 
Clement  VII.,  with  the  aid  of  the  imperial  cannon, 
gave  the  last  blow  to  the  liberties  of  Florence,  or 
rather  when  the  city,  which  fire  and  famine  had 
been  unable  to  subdue,  was  treacherously  yielded 
to  the  Medici,  Michelangelo,  who  had  returned 
from  Venice,  was  in  great  danger,  and  was  obliged 
to  lie  concealed  for  a  time  in  the  house  of  a  friend. 
The  Pope,  however,  who,  like  his  predecessor 
Julius  II.,  seems  to  have  known  the  value  of  a  man 
of  genius,  gave  him  his  pardon,  and  ordered  him 
to  resume  his  work  on  the  tombs  in  the  Medici 
Chapel  in  San  Lorenzo,  upon  which  he  had  been 
employed  before  the  siege.  He  accordingly  came 
forthfromhis  hiding-place,  and  worked,  as  he  says, 
with  "morbid  haste,"  but  with  saddened  heart, 
on  the  four  great  recumbent  figures  of  Night, 
Morning,  Dawn,  and  Twilight,  and  the  statues 
of  Lorenzo  and  Giuliano  de'  Medici.  These  are 
generally  considered  to  be  his  greatest  works  in 
sculpture. 

In  1534  Michelangelo  lost  his  father,  to  whom 
and  to  his  brothers  most  of  his  letters  are  written. 
He  is  seen  by  these  letters  to  have  been  always  a 
most  dutiful  and  affectionate  son,  ever  considerate, 
patient,  and  generous  towards  his  family.  Both 
his  father  and  his  brothers  constantly  depended 
upon  him  for  help,  which  was  given  even  at  a 
time  when  he  had  to  deny  himself  to  send  it. 
Indeed  the  sardonic  old  Titan  who  was  so  inac- 
cessible to  the  rest  of  the  world,  and  who  braved 
even  the  anger  of  popes,  stands  forth  in  his  letters 
as  a  singularly  obedient  and  tender  son,  who  bore 
with  exemplary  patience  the  very  irritating  conduct 
of  father  and  brothers,  who  were  perpetually  worry- 
ing him  about  trivial  family  disputes  and  debts. 
On  the  death  of  Clement  VII.  in  1634,  Michel- 
angelo's work  in  San  Lorenzo,  though  unfinished, 
came  to  an  end.  He  now  again  thought  that  he 
might  be  permitted  to  work  on  the  tomb  of  Julius 
II.  for  which  he  had  contracted,  and  which  had 
caused  him  endless  worry  and  regret.  But  the 
new  Pope,  Paul  III.,  was  possessed  of  another 
idea,  and  was  determined,  now  he  was  Pope,  to 
realize  it ;  and  Michelangelo,  in  furtherance  of 
this  idea,  was  again  obliged  to  lay  aside  sculpture 
for  painting. 

The  world-famous  '  Last  Judgment,'  which 
Michelangelo  now  undertook  as  the  completion  of 
the  Sixtine  frescoes,  may  be  regarded  as  the  final 
expression  of  his  art.  In  this  work  all  traditionary 
types  were  cast  aside.  Christ  is  represented  as  the 
Avenger,  and  the  lost  souls  fall  before  His  wrath 
into  the  abyss  ;  the  joys  of  the  blessed  being  far 
less  apparent  than  the  convulsive  struggles  of  the 
damned.  The  subject  indeed,  which  had  been 
treated  with  grotesque  asceticism  by  the  early 
religious  painters,  oifered  a  marvellous  opportunity 
for  the  display  of  naked  human  form,  and  as  such 
Michelangelo  seized  upon  it,  and  turned  the  old 
idea  of  the  Dies  ircz  into  a  great  tragedy  of 
humanity. 

The  'Last  Judgment'  has  suffered  even  more 
fatally  from  neglect  than  the  other  frescoes  in  the 
Sixtine  Chapel,  and  moreover  it  has  been  injured 
by  repainting,  from  which  the  others  have  been 
preserved  by  their  inaccessible  position.  It  con- 
tains 314  figures,  and  occupied  Michelangelo  from 
1535  to  1541.  But  Michelangelo  was  now  an  old 
man,  and  worked,  as  he  himself  says,  "  unwillingly, 
working  for  one  day,  and  resting  for  four." 


This  was  almost  the  last  great  work  in  painting 
that  he  was  called  to  undertake  :  though  he  after- 
wards consented  to  paint  two  frescoes  in  the 
Pauline  Chapel  of  the  Vatican  representing  the 
'  Conversion  of  St.  Paul '  and  the  '  Martyrdom  of  St. 
Peter.'  In  1546,  at  the  age  of  seventy-one,  he  was 
appointed  by  Paul  III.  chief  architect  of  St.  Peter's, 
an  office  which  he  continued  to  hold  under  four 
other  popes.  The  great  dome  of  St.  Peter's  was 
raised  from  his  plan. 

All  his  poems,  for  he  was  a  poet  as  well  as  a 
sculptor,  painter,  architect,  and  engineer,  express 
a  longing  for  the  release  of  death,  but  it  was  not 
until  he  had  reached  his  ninetieth  year  that  this 
release  came  to  him.  He  died  at  Rome  on  the 
18th  of  February,  1564,  and  was  buried  by  his 
own  desire  at  Florence. 

Michelangelo  was  a  man  of  melancholy  tempera- 
ment, and  subject  to  violent  outbursts  of  righteous 
anger  which  made  him  more  feared  than  loved  by 
those  who  did  not  know  him  well.  Dwelling  alone 
with  his  own  great  thoughts,  he  became  impatient 
of  interruption  and  contradiction,  and  ofttimes  ex- 
pressed himself  with  a  bitterness  which  made  him 
many  enemies.  No  woman's  name  is  in  any  way 
associated  with  his,  with  the  exception  of  that  of 
the  noble  Princess  Vittoria  Colonna,  whose  sym- 
pathetic friendship  cheered  the  later  years  of  his 
life.  His  life  was  a  stormy  one,  no  less  from 
miserable  personal  disputes  than  from  the  stirring 
times  in  which  he  lived  and  took  part.  He  felt 
deeply  the  ruin  of  the  liberties  of  Florence,  as 
evinced  by  his  reply  to  some  verses  affixed  to  his 
statue  of '  Night,'  in  which  he  makes  the  statue 
say,  "  Sleep  is  dear  to  me,  and  still  more  that  I  am 
of  stone,  BO  long  as  dishonour  and  shame  last 
among  us.  The  happiest  fate  is  to  see  nothing  and 
feel  nothing.   Therefore  awake  me  not.    Speak  low." 

Of  the  art  of  Michelangelo  all  may  judge.  It 
needs  long  study  before  its  masterly  power  is  per- 
fectly comprehended.  All  that  the  progressive 
artists  of  Florence  had  been  .striving  after  since 
the  time  of  Masaccio  was  attained  by  him.  He 
was  influenced  but  not  dominated  by  classic  art. 
Like  the  great  Greek  artists  before  him,  he  seized 
on  the  nude  human  body  as  the  best  means  of 
displaying  the  highest  perfection  of  artistic  beauty. 
While  Titian  and  Correggio  were  seeking  this  per- 
fection in  sensuous  loveliness,  Michelangelo  sought 
it  in  physical  force,  and  by  a  daring  and  a  know- 
ledge such  as  no  artist  hail  ever  before  displayed, 
achieved  his  aim  to  the  admiration  of  all  succeed- 
ing ages.  Power  and  intellect  are  the  two  qualities 
that  mark  his  style,  a  profound  knowledge  of 
nature,  and  careful  study  of  the  hving  model, 
yet  no  servile  copying  even  of  nature,  for  he  often 
violated  rules  of  proportion,  placed  his  figures  in 
constrained  and  unusual  positions,  and  in  other 
ways  rejected  the  teachings  of  science,  if  this  was 
necessary  for  the  expression  of  his  idea.  For 
Michelangelo  was  perhaps  the  greatest  of  idealists. 
His  figures  live  by  virtue  of  the  life  lie  has  infused 
into  them,  and  remain  as  the  grandest  creations  of 
Italian  art. 

It  does  not  come  within  the  scope  of  this  work 
to  enumerate  all  his  great  works  in  sculpture  and 
in  architecture  ;  many  of  them  have,  however,  been 
mentioned  in  this  article.  Of  those  he  executed  in 
painting,  the  principal  are  ; 

Copy  of  Martin  Schongauer's  St.  Anthony.     His  first 

reputed  picture;  now  lo.^t. 
Circular  Madonna  and  Child,  painted  for  Angelo  Doni 

213 


A  BIOGRAPHICAL  DICTIONARY  OF 


in  1S04;  now  in  the  U^;i  at  Florence.  The  best 
known  perhaps  of  all  his  pictures,  having  been  con- 
stantly reproduced. 

The  Madonna  and  Saints;  in  the  National  Gallery. 
Early  work.  Unfinished, and  of  doubtful  authenticity. 

The  Entombment;  in  the  National  Gallery.  Unfinished, 
and  of  doubtful  authenticity. 

Cartoon  of  Pisa ;  an  incident  in  the  battle  of  Cascina. 
1504.  This  noble  work,  which  was  never  completely 
finished,  was  destroyed  by  some  means  at  an  early 
date,  and  the  fragments  scattered  in  various  collec- 
tions ;  but  the  story  Vasari  tells  of  its  having  been 
torn  to  pieces  by  Baccio  Bandinelli  is  unworthy  of 
credit.  Portions  of  it  were  early  engraved  by  Marc- 
Antonio  and  Agostino  da  Venezia,  and  in  later  years 
the  central  piirt  of  the  composition  has  been  engraved 
by  Sehiavonetti,  from  an  excellent  copy  in  grisaille, 
which  still  exists  in  the  possession  of  the  Earl  of 
Leicester  at  Holkham.  It  is  from  this  that  the 
numerous  reproductions  of  this  subject  are  taken. 

Fresco  paintings  in  the  Vault  of  the  Siitine  Chapel, 
representing  the  various  acts  of  creation ;  the  Tempt- 
ation and  Fall  of  our  first  parents ;  the  Deluge,  and 
the  Sacrifice  and  Drunkenness  of  Noah ;  also  the 
Genealogy  of  the  Virgin  in  the  spandrels  above  the 
windows,  and  four  historical  subjects  from  the  history 
of  the  Jews,  in  the  comer  soffits  of  the  ceiling.  The 
twenty  figures,  called  athletes,  and  other  figures  in 
the  framework.  The  seven  figures  of  the  Prophets, 
and  the  five  Sibyls  who  sit  enthroned  in  niches  round 
the  vault,  are  generally  regarded  as  the  highest 
conceptions  of  Michelangelo's  art. 

The  Leda,  painted  about  1530  for  the  Duke  of  Ferrara, 
but  not  sent  to  him.  The  history  of  this  picture  is 
very  confused.  Vasari  states  that  Michelangelo  pre- 
sented it  to  his  pupil  Antonio  Mini  because  "  he  had 
two  sisters  to  marry."  It  seems  to  have  been  sold 
by  agents  to  Francis  I.,  and  to  have  remained  at 
FontainehleaH  until  the  reign  of  Louis  XII. ,  when  it 
is  said  to  have  been  destroyed  by  order  of  the 
Confessor  of  Desnoyers.  Its  destruction,  however, 
is  by  no  means  certain,  and  it  is  probable  that  it 
passed  in  a  mutilated  condition  into  England.  A 
painting  of  this  subject  is  now  in  the  National  Gal- 
lery, and  is  considered  by  M.  Eeiset,  the  learned 
director  of  French  museums,  to  be  the  one  actually 
painted  by  Michelangelo,  but  greatly  restored.  A 
Cartoon  of  the  Leda,  a  copy,  but  a  very  fine  work,  is 
in  the  possession  of  the  Koyal  Academy. 

The  Last  Judgment:  fresco  in  the  Sixtine  Chapel  of 
the  Vatican. 

Two  frescoes  in  the  Pauline  Chapel  in  the  Vatican — 
The  Conversion  of  St.  Paul  and  the  Crucifixion  of  St. 
Peter.     1549—1550. 


Other  works  iu  painting  were  doubtless  executed 
by  Micbelangelo,  but  no  others  are  known  to  be 
certainly  by  him,  the  pictures  that  pass  with  his 
name  in  galleries  being  generally  executed  by 
pupils  and  followers  from  his  designs,  which  be 
was  very  liberal  in  bestowing  upon  good  painters. 

Numerous  drawings  by  Michelangelo  are  to  be 
found  in  various  collections,  especially  in  England. 
There  are  fifteen  in  the  British  Museum,  thirty 
at  Windsor,  and  seventy  at  Oxford. 

The  following  books  should  be  consulted  : 

Vasari.  Vita  del  gran  Michelangelo  Buonarroti.  1568. 
Milanesi  edition  of  the  Lives,  in  1880. 

Condivi.  Vita  di  Michelangelo.  1553.  Both  these 
were  contemporary  biographies  by  pupils. 

Vignali.     Vita  di  M.  A.  Buonarroti.     1753. 

Hauchtcorne,     Vie  de  Michelange,  etc.     1783. 

Duppa.     Life  of  Michael  Angelo.     1S06. 

Linnell.     Frescoes  in  the  Sistine  Chapel.     1834. 

J.  E.  Taylor.  Michelangelo  considered  as  a  philo- 
sophic poet.     1840. 

Hermann  Grimm.  Leben  Michel  Angelos.  1860.  Trans- 
lated into  English  in  1865. 

Aurelio  Gotti.  Vita  di  Michelangelo  Buonarroti,  nar- 
rata  con  I'aiuto  di  nuovi  document!.     1875. 

214 


Gaetano  Milanesi,  Le  Lettere  di  Michelangelo  Buon- 
arroti.    1875. 

Ch.  Heath  Wilson.  Life  and  Letters  of  Michelangelo 
Buonarroti. 

These  last  three  works,  by  the  publication  of  the  docu- 
ments and  letters  in  the  Casa  Buonarroti,  have  added 
materially  to  our  knowledge  of  Michelangelo's  history. 

C.  C.  BlacTc.  Michael  Angelo  Buonarotti,  Sculptor, 
Painter,  Architect.     1875. 

J.  A .  Symonds.  The  Life  of  Michelangelo  Buonarroti. 
1893. 

Holroyd,  C.     Michel  Angelo.     1903. 

Sutherland-Gower,  Lord  Ronald.  Michel  Angelo.  1903. 
M.  M.  H.  &  C.  H.  (rreimon). 

BUONASONE.    See  Bonasone. 

BUONA VENTURA.    See  Segna. 

BUONCONSIGLIO,  Giovanni,  called  II  Mabes- 
CALCO,  a  native  of  Vicenza,  painted  in  tempera, 
in  the  first  part  of  his  career,  in  the  style  of  Mon- 
tagna ;  but  afterwards  he  turned  his  attention 
towards  oil-colours,  and  became  a  disciple  of  Anto- 
nello  da  Messina,  whom,  it  is  said,  he  assisted  in 
several  of  his  works.  He  subsequently  became 
almost  Titianesque  in  warmth  of  colour.  Buon- 
consiglio  laboured  chiefly  at  Vicenza,  Venice,  and 
the  neighbourhood.  He  was  living  as  late  as 
1530  at  Venice,  for  the  churches  of  which  city  he 
painted  numerous  altar-pieces,  many  of  which 
have  unfortunately  perished.  The  following  are 
his  principal  works  now  extant : 

London.  Holford  Gall.  Lady  "with  man  in  armour. 

,,  Butler  Coll.  The    Mistress    of   Giorgione    {so 

called). 
Ward  Coll.  Ecce  Homo. 
Montagnana.  Cathedr.  Viigin&nd  Child  (signed  and  dated 
1511). 
,,  „       St.   Catharine  (signed  and   dated 

1513). 
,,  Comune.  Madonna  with  six  Saints  (signed). 

Paris.  Louvre.  Ecce  Homo. 

Venice.  Academy.  Fragments  of  a  work  painted  in 

oil  for  SS.  Cosmo  e  Damiano 
alia  Giudecca,  representing  SS. 
Benedict,    Tecla,    and    Cosmo 
(signed  and  dated  1497). 
„  Gesuati.  Christ  between  SS.  Jerome  and 

Secondo    (signed   *Joanes    bo- 
n'ichosiuj    dito     habeschal- 
CHO.  p.'). 
„  S.  Giac.  delV  Orio.  St.  Sebastian  (signed). 
Vicenza.  Gallery.  Virgin  and  Saints  mourning  over 

the  dead  body  of  Christ.  Signed, 
Tempera  (painted  for  San  £ar- 
tolommeo,  i'icenza). 
„  S.  Rocco.  Virgin   and    Child,    with   Saints 

(i'Uf:*ed  and  dated  1502). 

BUONFIGLIO.    See  Bomfigli. 

BUONFRATELLI,  Apollonio,  a  miniature 
painter  of  Florence  in  the  15th  century. 

BDONI,  B.  and  S.  de'.     See  De'  Buoni. 

BUONI,  Flobiano,  (or  Bonis,)  an  engraver,  wag 
a  native  of  Bologna,  and  flourished  about  the  year 
1670.  Among  other  prints  he  produced  a  plate 
representing  a  '  Dead  Christ,  with  the  Virgin  Mary 
and  St.  John,'  after  Guercino.  It  is  executed  with 
the  graver  in  a  dark,  heavy  style.  His  name  is 
also  affixed  to  a  portrait  of  Guido  Reni. 

BUONINSEGNA,  Dnccio  di,  was  born  at  Siena 
about  1260.  He  was  the  first  of  his  school  to 
throw  aside  the  Byzantine  style  and  to  strive  to 
imitate  nature.  In  1285  he  entered  into  a  contract 
to  paint,  for  150  florins,  an  altar-piece  for  the 
chapel  of  the  Virgin  in  Santa  Maria  Novella  at 
Florence,  but  no  record  of  the  picture  exists  ;  and 
in  the  autumn  of  that  year  he  was  in  Siena.  HiB 
master-piece,  which  still  exists,  is  the  high  altar- 


M.  A.  BUONAROTI 

CALLED 

MICHELANGELO 


Hanfiliingl  photo\ 


THE  MADONNA  AND  INFANT  CHRIST, 
ST.  JOHN  AND  ANGELS 


\National  Gallery,  London 


PAINTERS  AND  ENGRAVERS. 


piece  in  the  Cathedral  of  Siena.  It  occupied  him 
from  the  9th  of  October,  1308,  till  the  9th  of  June, 
1310,  when  it  was  carried  with  great  pomp — like 
the  Madonna  of  Cimabue — to  the  cathedral. 

For  tliis  great  work  Duccio  received  only  sixteen 
soldi  (or  pence)  a  day,  but  the  materials,  which 
were  very  costly,  owing  to  the  amount  of  gold 
and  ultramarine  used,  amounting  to  upwards  of 
3000  gold  florins,  were  supplied  for  him.  As  the 
high  altar  was  open  all  round,  Duccio  painted 
pictures  on  both  sides.  The  front  represented  the 
'  Virgin  and  Child,'  with  numerous  saints  and 
angels,  and  four  bishops  kneeling  in  front.  On 
the  back  were  twenty-six  scenes  from  the  life  of 
our  Lord,  from  the  '  Entry  into  Jerusalem  '  to  the 
'  Meeting  at  Emmaus.'  It  was  removed  from  the 
altar,  in  the  early  part  of  the  sixteenth  century,  to 
make  room  for  a  tabernacle,  and  then,  after  having 
been  divided,  the  halves  were  placed  at  either  end 
of  the  transept,  where  they  still  remain.  A 
'  Madonna  and  Child,  with  saints  and  angels,'  by 
him  is  in  the  National  Gallery ;  and  two  pictures 
of  similar  subjects  by  him  are  in  the  Academy  at 
Siena.  We  have  no  record  of  Duccio  later  than 
1320. 

BUONTALENTI,  Bernardo,  called  Delle  Gi- 
randole, was  a  painter,  sculptor,  and  architect 
who  was  born  at  Florence  in  1536.  When  he  was 
eleven  years  of  age  his  parents  were  ruined  by  a 
sudden  inundation  of  the  Arno,  and  he  was  taken 
under  the  protection  of  Cosmo  I.,  Grand  Duke  of 
Tuscany,  who  caused  him  to  be  educated  in  the 
best  manner.  He  is  said  to  have  been  instructed 
in  painting  by  Salviati  and  Bronzino,  in  sculpture  by 
Buonarroti,  in  architecture  by  Giorgio  Vasari,  and 
to  have  learned  miniature  painting  under  Giulio 
Clovio.  With  such  advantages  it  is  not  surprising 
that  he  became  eminent.  He  executed  a  number 
of  miniatures  for  Francesco,  the  son  of  Cosmo  I. 
He  was  more  celebrated  as  an  architect  than  a 
painter,  and  was  much  employed  in  fortification. 
He  was  also  a  great  mechanic,  and  an  excellent 
mathematician.  His  own  portrait,  by  himself,  is 
in  the  Uffizi  at  Florence.     He  died  in  1608. 

BURANI,  Francesco,  was  an  Italian  designer  and 
engraver,  born  at  Reggio,  by  whom  we  have  an 
etching  of  '  Bacchus  sitting  near  a  Tun,  with  three 
Satyrs,'  executed  in  the  style  of  Spagnoletto. 

BURATTI,  GlROLAMO,  a  painter  of  Ascoli,  lived 
about  1580.  He  painted  the  beautiful  picture  of 
the  'Presipio,'  at  the  Cariti,  in  Ascoli,  and  some 
subjects  in  fresco,  which  have  been  highly  com- 
mended. 

BURCH,   Aelbert    van    den.      See   Van  den 

BURCH. 

BURCH,  J.  H.  van  der.     See  Van  der  Bdrch. 

BURCHARD  DOERBECK,  Franz,  who  was 
born  at  Fellin  in  1799,  had  a  great  talent  for  comic 
pieces,  and  commenced  by  drawing  for  the  'Ber- 
liner Witze,'  ('Berlin  Wit'),  —  depicting  scenes 
from  the  life  of  the  lower  classes  at  Berlin.  There 
are  some  valuable  plates  by  him.  He  died  at 
Berlin  in  1835. 

BURCHETT,  Richard,  was  born  at  Brighton 
in  1817.  He  entered  the  School  of  Design  at 
Somerset  House  about  1841,  and  was  one  of  the 
students  who  headed  the  movement  which  led 
to  the  establishment  of  the  Department  of  Prac- 
tical Art.  He  was  appointed  an  assistant  master 
in  the  school  in  1845,  and  head  master  in  1851. 
As  such,  he  saw  the  migration  of  the  school  to 
Marlborough  House,  and  superintended  its  estab- 


lishment at  South  Kensington.  Amongst  his 
pictures,  which  are  of  a  scriptural  and  historical 
nature,  may  be  cited,  '  Edward  IV.  withheld  by 
Ecclesiastics  from  pursuing  Lancastrian  fugitives 
into  a  Church,'  scene  from  '  Measure  for  Mea- 
sure,' and  '  Expulsion  of  Peasants  by  William 
the  Conqueror  in  laying  out  the  New  Forest.' 
Mention  should  also  be  made  of  the  portraits 
of  the  Tudor  family,  executed  by  himself  and  his 
pupils,  which  decorate  the  Houses  of  Parliament, 
and  of  his  text-books  of  '  Geometry '  and  '  Per- 
spective.' He  died  at  Dublin  in  1875.  Amongst 
his  pupils  at  South  Kensington  may  be  named 
Miss  Elizabeth  Thompson  (Mrs.  Butler),  S.  L. 
Fildes,  A.R.A.,  and  W.  W.  Ouless,  R.A. 

BURCKER,  Gaetano,  of  Bologna,  laboured  in 
Milan  in  the  first  quarter  of  the  nineteenth  century. 
He  died  in  1828.  A  Landscape  by  him  is  in  the 
Milan  Gallery. 

BURCKMAIR,  Hans.    See  Burgkmair. 

BURFORD,  Robert,  a  painter  of  panoramas, 
was  born  in  1792.  The  subjects  treated  of  by  him, 
or  imder  his  direction,  many  of  which  were  from 
sketches  taken  on  the  spot  by  himself,  included 
almost  every  part  of  the  habitable  globe,  and  were 
often  heightened  in  interest  by  the  representation 
of  battles  or  other  important  events.  He  had  the 
management  of  the  Royal  Panorama  in  Leicester 
Square  from  1827  till  his  death  in  1861. 

BURFORD,  Thomas,  an  English  mezzotint  en- 
graver, was  born  about theyear  1710.  He  executed 
a  few  plates  of  landscapes  and  huntings,  but  was 
best  known  as  an  engraver  of  portraits.  He  died 
in  London  about  1770.     We  have  by  him : 

Dr.  Warburton ;  after  Philips. 

The  Rev.  Roger  Pickering,  F.R.S.     1747. 

Mr.  Charles  Churchill;  J.  H.  Hchaack pin.     1765. 

Vice-Admiral  John  Norris. 

BURG,  Adriaan  van  der.    See  Van  deb  Buro. 

BURG,  Dirk  van  den.     See  Van  den  Burg. 

BURGAU,  P.,  who  flourished  at  Vienna  about 
1750,  was  a  painter  of  birds  and  flowers.  Two 
pictures  of  birds  by  him  are  in  the  Belvedere, 
Vienna.  His  brother,  J.  M.  BuRGAU,  who  resided 
at  Linz  about  1743,  painted  hunting  scenes  and 
birds. 

BURGESS,  John  Bagnold,  son  of  W.  H. 
Burgess,  landscape  painter  to  William  IV.,  was 
born  at  Chelsea  in  1829,  and  in  1851  entered  the 
Schools  of  the  Royal  Academy.  Of  his  pictures, 
which  represent  scenes  from  Spanish  life,  the  most 
important  are  :—' Bravo  Toro,' 18C5  ;  'Stolen  by 
Gipsies,'  1868 ;  '  The  Barber  Prodigy,'  1875  ; 
'Licensing  the  Beggars:  Spain,  1877;  'The 
Letter-writer,'  1882  ;  and  '  An  Artist's  Alms- 
giving,' 1886.  Burgess  was  elected  an  associate 
of  the  Royal  Academy  in  1877,  and  an  academician 
in  1889.     He  died  in  London  in  1897. 

BURGESS,  John  Cart,  a  painter  in  water- 
colours,  exhibited  at  various  intervals  flower-pieces 
and  landscapes  at  the  Academy  and  the  Suffolk 
Street  Gallery,  and  published,  in  1811,  'A  Practical 
Treatise  on  the  Art  of  Flower  Painting.'  He  died 
at  Leamington  in  18G3. 

BURGESS,  Thomas,  who  learned  his  art  in  the 
St.  Martin's  Lane  Academy,  sent  pictures  to  the 
exhibitions  of  the  Incorporated  Society,  of  which 
he  was  a  member,  and  to  the  Royal  Academy.  His 
works  date  from  1766  till  1786  ;  they  are  conversa- 
tion pieces,  historic  works,  portraits,  and  landscapes. 
He  kept  for  some  years  an  Art  School  in  Maiden 

Lane. 

215 


A  BIOGRAPHICAL  DICTIONARY  OF 


BURGESS,  Thomas,  a  landscape  painter,  exhib- 
ited at  the  Royal  Academy  from  1802  till  1806. 
He  died,  in  the  following  year,  in  London,  at  the 
early  age  of  twenty-three. 

BURGESS,  William,  a  son  of  Thomas  Burgess 
(of  the  Maiden  Lane  Academy),  and  also  a  teacher 
of  art,  exhibited  portraits  and  conversation  pieces 
at  the  Free  Society  of  Artists  and  the  Royal  Acad- 
emy from  1769  till  1799.  He  died  in  London  in 
1812,  aged  63.  His  son,  H.  W.  Burgess,  was 
landscape  painter  to  William  IV. 

BURGESS,  William,  an  engraver,  practised  his 
art  about  the  end  of  the  eighteenth  centurj'.  He 
executed  a  set  of  plates  of  Lincolnshire  churches, 
and  of  the  cathedrals  of  Lincoln  and  Ely.  He  died 
in  1813,  aged  58,  at  Fleet,  Lincolnshire. 

BURGESS,  William  Oakley,  an  engraver, 
became  early  in  life  a  pupil  of  Lupton,  the  well- 
known  mezzotint  engraver,  under  whose  instruc- 
tion he  remained  until  twenty  years  of  age.  Some 
of  his  best  productions  are  plates  after  the  works 
of  Sir  Thomas  Lawrence,  published  in  the  '  Law- 
rence Gallery.'  He  also  engraved  a  large  plate 
after  Lawrence's  portrait  of  the  Duke  of  Welling- 
ton, remarkable  for  its  admirably  graduated  tones, 
and  the  last  works  on  which  he  was  employed 
were  three  other  portraits  after  Lawrence  —  Sir 
John  Moore,  tlie  Duchess  of  Northumberland,  and 
the  Archbishop  of  Canterbury.  The  extraordinarj' 
delicacy  which  characterizes  the  work  of  this  artist 
must  have  acquired  for  him  the  highest  reputation 
in  his  art,  had  his  life  been  spared.  His  death, 
which  took  place  in  1844,  whilst  in  the  prime  of 
life,  was  occasioned  by  an  abscess  in  the  head,  sup- 
posed to  have  arisen  from  a  blow  of  a  skittle-ball 
some  years  before. 

BURGH,  H.,  was  an  English  engraver,  who  lived 
in  London  about  the  year  1750.  He  worked  prin- 
cipally for  the  booksellers,  and  was  chiefly  em- 
ployed in  engraving  portraits,  among  which  is 
that  of  '  Thomas  Bradbury,  Minister  of  the  Gospel,' 
from  his  own  design :  it  is  inscribed  H.  Burg, 
del.  et  sculp. 

BURGHERS,  Michael,  was  a  Dutch  engraver, 
who  settled  in  England  on  the  taking  of  Utrecht 
by  Louis  XIV.  He  resided  chiefly  at  Oxford  ; 
and  on  several  of  his  plates  be  added  to  bis  name 
Academiae  Oxon.  calcographus.  From  the  great 
number  of  his  prints,  it  is  probable  he  was  em- 
ployed by  the  booksellers,  as  well  as  for  the 
University.  He  worked  almost  wholly  with  the 
graver,  in  a  stiil,  tasteless  style.  He  has  the  merit, 
however,  of  having  preserved  to  us  many  remains 
of  antiquity  which  would  otherwise  have  been 
lost.  He  engraved  the  plates  for  the  Almanacks  of 
the  University,  the  first  of  which,  by  him,  was  in  the 
year  1676.  His  most  esteemed  prints  are  his  anti- 
quities, ruins  of  abbeys,  and  other  curiosities.  He 
engraved  also  several  portraits  and  plates  <yQ 
for  the  classics.  He  sometimes  marked  his  J^  jj 
prints  with  the  annexed  monogram.  The 
following  are  the  principal : 

Illustrations  to  Dr.  Plot's  '  Hist,  of  Staffordshire.'   16S6 
Illustrations  to  Dr.  White  Rennet's  '  History  of  Ani- 

broseden.' 
"William  Somner,  the  antiquary  ;  after  Van  Dpck 
FrauL'iscus  Junius  ;  after  the  same. 
John  Barefoot,  letter  doctor  to  the  University.     1681. 
Head  of  Jamt  s  II. ;  for  an  Almanack.     1686. 
Anthony  a  Wood  ;  in  a  niche ;  his  only  mezzotint. 
King  Alfred ;  from  a  MS.  in  the  Bodleian  Librari/. 
Sir  Thomas  Bodley ;   in  the  Corners  of  the  plate  are 

the  Heads  of  the  other  Benefactors  of  the  Library  • 
216 


t)*>6" 


William,  Earl  of  Pembroke,  Archbishop  Laud,  Sir 

Kenelm  Digby,  and  John  Selden. 
Timothy  Hatton,  provost  of  Queen's  College. 
Dr.  WaUis.     1699. 
Sir  Thomas  Wyat. 
.Tohn  Baliol. 
Devorguilla,  his  spouse. 
Dr.  EatcUff. 
The  Visage  of  Christ ;  engraved  in  the  manner  of  Mel- 

lan,  with  one  stroke. 

BURGKMAIR,  Hans,  a  German  painter  and  en- 
graver, was  born  at  Augsburg  in  1473.  He  was  the 
son  of  Thomas  Burgkmair,  a  painter,  to  whom  he 
owed  his  education  as  an  artist,  and  was  followed 
in  the  same  profession  by  his  son  Hans.  Hans  the 
elder  was,  however,  the  great  artist  oi  the  family, 
the  friend  and  fellow-labourer  of  Albrecht  Diirer  in 
the  service  of  the  Emperor  Maximilian  I.  In  his 
native  city  are  preserved  several  of  his  pictures, 
which  possess  considerable  merit.  His  prints  are 
principally,  if  not  entirely,  on  wood,  and  are  de- 
signed with  extraordinary  spirit  and  fire.  Indeed 
the  endless  imagination,  and  richness  of  sugges- 
tion, as  well  as  truth  to  the  life  of  his  time,  and 
dramatic  value  to  be  found  in  many  works,  place 
him  in  the  highest  rank  of  the  illustrative  artists 
of  the  world.  His  cut  in  chiaroscuro  of  the  Em- 
peror Maximihan  I.  on  horseback  is  dated  in  1518 ; 
and  it  has  been  very  probably  supposed  by  Pro- 
fessor Christ  that  the  fine  wood-cuts  marked  /.  £., 
dated  1510,  in  the  old  edition  of  the  works  of  Geyler 
de  Keyserberg,  are  designed  by  this 
artist.  His  prints  are  very  numerous. 
He  sometimes  marked  them  with  the 
initials  H.  B.,  in  capitals  ;  sometimes 
thus : 

The  following  is  a  general  list  of  bis  prints: 

The    Emperor    Maximilian    on    Horseback ;    with  his 

name. 
The  same  print  in  chiaroscuro ;  dated  1518  ;  scarce. 
Hans  Baimigartner,  Coimsellor  of   the  Emperor.    A 

chiaroscuro  of  rare  excellence. 
St.  George  on    Horseback;   in  chiaroscuro,  with  the 

name  of  Negker. 

His  greatest  work  is '  The  Triumph  of  Kaiser  Max,' 
in  135  successive  prints,  showing  all  the  various 
countries  and  princes  subject  to  the  emperor,  with 
their  heraldry ;  all  the  difierent  corps  of  cavalry 
and  foot  in  his  service,  the  guilds  with  their  office- 
bearers, &c.,  &c.,  a  most  interesting  series  of  his- 
torical designs.  His  work  next  in  importance  to 
the  'Triumph'  is  '  Der  Weiss  Kunig.  Ein  Erzahling 
von  den  Thaten  Kaiser  Max  des  ersten.'  This  con- 
sists of  237  pieces,  nearly  all  of  them  admirably 
invented  and  drawn.  Third,  'The  Genealogy 
of  the  Emperor,'  a  set  of  separate  figures  of  the 
ancestral  princes  and  others.  The  saints,  male 
and  female,  related  to  the  imperial  family  may  be 
considered  fourth  in  importance,  in  number  119 
prints.  Besides  these,  he  did  68  of  the  illustrations 
(71  in  number)  to  the  '  Chronicle  of  the  Family  of 
the  Counts  Truchsess  de  Waldburg  ;  '  33  of  those 
for  the  '  SchimpfE  und  Ernst,'  a  book  containing 
40  engravings  ;  104  admirable  designs  for  a  German 
translation  of  the  'Offices'  of  Cicero  published  in 
Augsburg  by  Heinrich  Stayner,  1531  ;  six  for  the 
'  Lives  of  SS.  Ulrich,  Symprecht,  and  Afra,'  Augs- 
burg, Silvanus  Ottmar,  1516.  Above  all  these  in 
varied  interest  are  his  designs,  260  in  number,  for 
the  German  translation  of  Petrarch's  prose  treatise 
on  Fortune,  '  Glucksbuch,  beydes  dess  Giiten  und 
Bozen,'  published  first  ir  Augsburg  and  a  few 
years  later  in  Frankfort.     His    single  prints  are 


HANS   BURGKlMAIR 


I 


THE  EMPEROR  MAXIMILIAN 
1518 


PAINTERS  AND  ENGRAVERS. 


also  numerous,  so  that  he  must  be  considered  one 
of  the  most  prolific  as  well  as  able  of  the  early 
German  school.  Bartsoh  mentions  only  one  etching 
by  him, '  Venus  and  Mercury,'  a  small  print  on  iron. 
For  lists  and  comments  on  his  works  see  Nagler's 
'Kiinstler  Lexicon ' ;  Bartsch,  Le  '  Peintre-Graveur,' 
vol.  vii.  ;  Passavant,  vol.  iii.  W.  B.  S. 

BURGKMAIR,  Thoman,  or  Thomas,  the  father 
of  Hans  Burgkmair,  and  the  father-in-law  of  Hans 
Holbein  the  elder,  is  mentioned  in  the  records  of 
the  Painters'  Guild  at  Augsburg  in  1460,  and  in 
public  documents  there  in  1479.  He  painted  in 
1480  a  '  Christ  with  St.  Ulric  '  and  a  '  Virgin  with 
St.  Elizabeth  of  Thuringia,'  both  in  the  cathedral 
at  Augsburg  ;  the  gallery  of  that  city  also  possesses 
a  picture  by  him  of  the  '  Martyrdom  of  St.  Stephen, 
St.  Lawrence,  and  scenes  from  the  Passion.'  Burgk- 
mair died  at  Augsburg  in  1623. 

BURGOS  T  MANTILLA,  Francisco,  the  son 
of  a  lawyer,  studied  painting  under  Pedro  de  las 
Cuevas,  and  afterwards  with  Velazquez.  Dis- 
tinguished for  his  portraits,  he  painted  many 
persons  of  rank  at  Madrid  about  1658.  Isidoko 
DE  BuKGOs  Y  Mantilla,  probably  a  relative  of 
Francisco,  painted  in  1671  a  series  of  portraits  of 
the  Kings  of  Spain,  from  Henry  IL  to  Charles  II. 
inclusive,  for  the  guest-chamber  of  the  Chartreuse 
of  Paular,  according  to  Cean  Bermudez,  of  grace- 
ful design  and  agreeable  colour.  He  was  also  a 
poet,  and  printed  a  romance  in  honour  of  the 
statue  of  San  Miguel  in  the  Escorial  by  Luisa 
Roldau. 

BURGT.    See  Van  der  Borgt. 

BURINO,  Antonio,  who  was  born  at  Bologna  in 
1656,  was  a  scholar  of  Domenico  Canuti,  and  also 
devoted  much  time  to  the  study  of  Paolo  Veronese. 
He  proved  a  very  reputable  historical  painter. 
Many  of  his  works  were  in  the  churches  and 
palaces  at  Bologna,  the  following  among  them : 
'  The  Crucifixion  '  in  San  Tommaso  dal  Mercato  ; 
'  David  with  the  Head  of  Goliath  '  in  the  sacristy 
of  San  Salvatore ;  and  '  The  Martyrdom  of  St. 
Catharine '  in  Santa  Caterina  de  Saragozza.  He 
also  painted  a  saloon  for  the  Palazzo  Legnani,  and 
this  has  been  very  highly  spoken  of.  He  died 
in  1737.  His  Portrait  by  himself  is  in  the  Ufifizi, 
Florence. 

BURKE,  Thomas,  an  engraver,  who  was  born 
in  Dublin  in  1749,  adopted  the  style  of  Bartolozzi, 
in  the  chalk  manner,  and  occasionally  that  of 
Earlom.  He  was  a  pupil  of  Dixon,  and  engraved 
chiefly  after  the  works  of  contemporary  artists, 
particularly  Cipriani  and  Angelica  KaufEmann.  He 
died  in  London  in  1815.  His  engravings  are  gen- 
erally printed  in  red  or  brown  colours,  and  are 
dated  from  1772  tol791.  The  following  are  the 
principal : 

Telemachus  at  the  Court  of  Sparta ;  after  Ang.  Kmff- 

mann.     1778. 
Andromache  at  Hector's  Grave ;  after  the  same. 
The  Battle  of  Agincourt ;  after  Mortimer. 
King  John  signing  the  Magna  Oharta  ;  after  the  same. 
The  Nightmare  ;  after  Fuse!:. 
Portrait  of  Mrs.  Siddons  ;  after  Dance. 
Portrait  of  Lord  North  ;  after  the  same. 

BURKHARDT,  Jacques,  studied  at  Munich  and 
in  Rome.  He  accompanied  Agassiz  in  his  cele- 
brated researches  on  the  glaciers  of  the  Aar,  and 
illustrated  many  of  the  works  of  that  professor. 
He  died  at  Montreal  in  1867. 

BURNE-JONES,  Sir  Edward,  Baronet.  Ed- 
iWARD  CoLEY   BuRNE,  as   he  was   christened,  the 


only  son  of  Edward  Richard  Jones  and  his 
wife  Elizabeth  Coley,  was  born  at  Birmingham, 
August  28,  1833.  He  was  sent  in  1844  to  King 
Edward's  School  in  the  same  city,  where  he  studied 
to  so  good  purpose,  that  in  1852  he  won  an  ex- 
hibition which  enabled  him  to  enter  Exeter  College, 
Oxford,  to  which  he  went  the  same  year,  his 
father's  wish  and  his  own  intention  being  that 
he  should  eventually  be  ordained  as  a  minister 
of  the  Church  of  England.  The  pictorial  work 
of  Dante  Gabriel  Rossetti,  however,  with  which 
he  became  acquainted  first  through  an  illustration 
to  William  Allingham's  '  Elfin  Mere,'  and  later 
at  the  house  of  Mr.  Combe,  the  director  of  the 
Clarendon  Press,  so  aroused  his  enthusiasm  that 
he  resolved  finally  to  abandon  his  proposed  career 
and  devote  himself  to  art.  In  1855  he  went  to 
London  and  made  the  acquaintance  of  Rossetti, 
on  whose  recommendation  he  left  the  University 
without  taking  his  degree,  and,  after  a  brief  period 
of  study  in  that  artist's  studio,  began  in  1856  the 
serious  work  of  his  life  without  further  instruction, 
though  for  a  long  time  under  the  frequent  super- 
intendence and  with  the  constant  advice  of  his 
only  master.  He  settled  to  begin  with  at  17,  Red 
Lion  Square,  where  his  earliest  works,  mostly  in 
pen-and-ink  and  water-colours,  were  carried  out. 
In  the  autumn  of  1858  he  returned  to  Oxford,  no 
longer  as  a  member  of  the  University,  but  as  a 
collaborator  with  Rossetti.  and  other  artists  under 
his  influence,  in  an  extensive  scheme  of  decoration 
for  the  reading-room  of  the  Oxford  Union,  to  which 
he  contributed  a  painting  of  Merlin  and  Nimue, 
a  work  which,  together  with  its  companions,  time 
has  rendered  utterly  unrecognizable.  In  September 
1859  he  paid  a  vfsit  to  Italy  and  studied  the  works 
of  the  Italian  masters  at  Florence,  Siena,  Pisa 
and  elsewhere.  On  returning  to  London  he  re- 
moved to  Russell  Place,  Fitzroy  Square,  and  on 
June  9,  1860,  was  married  to  Miss  Georgians 
Macdonald  in  Manchester  Cathedral.  In  1861  he 
moved  to  Great  Russell  Street,  and  again,  in  1866, 
to  Kensington  Square.  In  the  meantime  so  re- 
solved had  been  liis  application  and  so  steady  his 
progress  that  in  1863  he  was  elected  an  associate 
of  the  Royal  Society  of  Painters  in  Water-Colours, 
to  whose  Gallery  he  was  a  frequent  contributor 
during  the  following  years.  In  1867  he  changed 
his  residence  once  more  and  for  the  last  time, 
removing  to  the  Grange,  North  End  Road,  Fulham, 
a  picturesque  old  house,  at  one  time  occupied  by 
Samuel  Richardson,  which  he  continued  to  inhabit 
till  his  death.  He  retired  from  the  Water-Colour 
Society  in  1870,  in  consequence  of  a  misunder- 
standing, and  thenceforward,  with  the  exception 
of  a  solitary  reappearance  with  two  pictures  at 
the  Dudley  Gallery  in  1873,  was  unknown  as  an 
exhibitor,  and,  to  a  l.irge  section  of  the  public, 
even  as  an  artist,  until  the  opening  of  the  Grosvenor 
Gallery  in  1877,  which,  containing  an  important 
representation  of  his  completed  work,  brought 
him  once  for  all  into  popular  notice,  if  not  at  once 
into  popular  estimation,  in  his  native  land  at  least, 
for  the  French  critics  to  whose  attention  his  work 
was  introduced  for  the  first  time  at  the  Exposition 
of  1878  received  it  at  once  with  unqualified 
approval.  Yet,  though  his  first  general  reception 
was  indisputably  a  mixed  one,  the  public  and 
expert  appreciation  of  his  art  continued  to  grow 
rapidly  and  uninterruptedly.  He  was  presented 
with  a  fellowship  by  his  old  college  in  Oxford, 
and  at  the  Encaenia  of  that   University  in  1881 

217 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  honorary  degree  of  D.C.L.  was  given  to  him, 
while  in  1882  he  and  Lord  Leigh  ton  alone  among 
British  artists  were  invited  by  the  French  Govern- 
ment to  represent  their  country  at  the  International 
Exhibition  of  Contemporary  Art.  In  June  1885 
much  interest  was  aroused  by  the  prices  paid  for 
his  works  at  the  dispersal  of  Mr.  Ellis'  collection 
by  auction,  and  in  the  same  month  the  Royal 
Academy  elected  him  an  associate,  from  which 
position,  however,  he  retired  in  1893.  A  second 
sale,  in  1886,  that  of  Mr.  William  Graham's  pictures, 
more  than  confirmed  his  advance  in  the  opinion 
of  connoisseurs  and  helped  greatly  to  secure  it  in 
that  of  the  outside  public.  He  ceased  to  exhibit 
at  the  Grosvenor  Gallery  in  1888,  reserving  his 
contributions  for  the  New  Gallery  in  the  future, 
and  in  the  same  year  he  was  unanimously  re- 
elected a  member  of  the  Royal  Society  of  Painters 
in  Water-Colours.  As  a  result  of  the  Exhibition 
at  Paris  in  1889,  he  received  a  Knighthood  of  the 
Legion  of  Honour,  and  in  1890  his  position  among 
the  foremost  artists  of  the  day  was  assured  by 
the  exhibition  at  Messrs.  Agnew's  Galleries  of  the 
great  '  Briar  Rose '  series.  That  the  final  judg- 
ment of  the  critical  was  fully  endorsed  by  the 
less  learned,  was  shown  by  the  crowds  that 
thronged  to  see  the  pictures,  as  they  did  even 
more  markedly  to  the  New  Gallery  during  the 
winter  of  1893-4,  when  the  display  was  confined 
entirely  to  his  works,  a  distinction  not  often 
granted  to  a  living  artist.  In  1897  a  first-class 
medal  was  awarded  to  hira  at  the  Antwerp 
Exhibition,  and  in  the  same  year  Her  Majesty  the 
Queen  conferred  upon  him  the  honour  of  Baronetcy. 
His  work  had  been  more  than  once  interrupted  by 
illness  during  these  later  years,  and  in  the  early 
months  of  1898  he  suffered  severely  from  influenza, 
but  there  was  no  suspicion  of  any  imminent  danger, 
and  his  sudden  death  in  the  early  morning  of 
June  17  at  his  house  in  London  came  as  a  general 
shock.  He  was  buried  on  June  21  at  Rottingdean 
near  Brighton,  where  he  had  for  some  years  resided 
for  part  of  each  year.  Among  his  more  important 
pictures  are  '  Laus  Veneris'  (1861-1878),  'The 
Merciful  Knight'  (186.3),  'The  Wine  of  Circe' 
(1863-1869),  '  St.  George  and  the  Dragon,'  a  set  of 
seven  pictures  (1865-6,  but  largely  repainted  in 
1895),  'Le  chant  d'amour'  (1868-1877),  'Spring' 
and  'Autumn'  (1869),  'Pygmalion  and  the 
Image,'  a  series  of  four  pictures  (1869-1879)  ; 
'Night'  (1870),  'Summer,'  'Winter,'  and  'Day' 
(1871),  'Temperantia'  (1872-3),  'The  Angels  of 
Creation  '  (1872-1876),  '  The  Beguiling  of  Merlin  ' 
(1872-1877),  'The  Feast  of  Peleus '  (1872-1881), 
'The  Mirror  of  Venus'  (1873-1877),  'The  Annun- 
ciation' (1876-1879),  'The  Golden  Stairs'  (1876- 
1880),  '  The  Wheel  of  Fortune'  (1877-1883),  '  Dies 
Domini'  (1880),  '  King  Cophetua  and  the  Beggar 
Maid'  (1880-1884);  'Perseus  and  the  Graiie' 
(1883-1893),  'The  Baleful  Head'  (1884-1887),  'The 
Rock  of  Doom'  and  'The  Doom's  Fulfilment'  (1884- 
1888),  all  four  belonging  to  an  uncompleted  series 
illustrating  the  story  of  Perseus;  'The  Briar 
Wood'  (1884-1890),  'The  Rose  Bower'  (1885- 
1890),  'The  Garden  Court'  (1887-1890)  and  'The 
Council  Room'  (1888-1890),  forming  'The  Briar 
Rose'  series;  'The  Depths  of  the  Sea'  (1886), 
the  only  picture  the  artist  ever  exhibited  at 
Burlington  House;  'The  Star  of  Bethlehem' 
(1888-1891),  'Sponsa  di  Libano'  (1891);  'Love 
auiung  the  Ruins'  (1893),  a  replica  of  an  earlier 
work  which  was  destroyed  by  accident :  '  Aurora ' 
218 


(1896);  'The  Prioress' Tale' (1869-1898),  his  last 
finished  work,  and  '  Arthur  in  Avalon,'  left  un- 
finished at  his  death.  In  addition  to  these,  and 
many  other  purely  pictorial  works,  he  produced, 
for  the  most  part  in  co-operation  with  the  late 
William  Morris,  a  vast  amount  of  decorative  work, 
taking  to  a  great  extent  the  form  of  cartoons  for 
stained  glass  windows,  of  which  examples  may 
be  found  in  churches  in  Sloane  Street,  Vera 
Street  and  elsewhere  in  London,  in  the  cathedrals 
of  Oxford  and  Salisbury,  in  Peterhouse  and  other 
colleges  at  Cambridge,  at  Liverpool,  Birmingham, 
Edinburgh,  Dundee,  Dublin,  and  many  other 
cities  both  in  England  and  abroad.  He  also 
made  numerous  designs  for  tapestry,  a  specimen 
of  which,  '  The  Star  of  Bethlehem,'  forms  part  of 
the  decoration  of  the  chapel  in  Exeter  College, 
Oxford.  His  most  important  decorative  achieve- 
ment, however,  is  in  the  American  Protestant 
Church  in  the  Via  Nazionale  at  Rome,  and  con- 
sists of  a  series  of  mosaics,  'The  New  Jerusalem' 
adorning  the  apse,  '  The  Fall  of  the  Rebel  Angels,' 
'  The  Tree  of  Life,'  etc.,  the  walls.  The  most 
conspicuous  characteristic  of  his  work  is  its  in- 
dividuality, for  though  in  his  earUer  years  he  was 
undoubtedly  influenced  by  Rossetti,  and  in  his 
later  found  not  a  few  imitators,  few  artists  have 
ever  struck  so  strongly  personal  a  note.  The 
sources  of  his  inspiration  were  sevenfold — mediaeval 
ballads  and  legends,  classical  myths,  'The  Earthly 
Paradise'  by  William  Morris,  the  poems  of  Chaucer 
and  Spenser,  the  Bible,  allegory,  and  pure  imagina- 
tion ;  but  from  whatever  source  his  subject  was 
derived  it  was  invariably  infused  with  and  trans- 
figured by  a  powerful  and  somewhat  melancholy 
poetical  charm  which  was  all  his  own,  expressed 
with  a  refined  and  delicate  feeling  for  beauty  of 
form  and  colour,  and  illustrated  with  a  prodigal 
wealth  of  charming  and  significant  detail.  His 
method  of  work  was  as  original  as  were  the  results 
produced.  He  rarely  completed  a  picture  at  one 
stretch.  Rather  he  loved  to  linger  over  it,  to 
work  upon  it  when  he  was  in  a  fitting  mood,  to 
put  it  away  and  turn  to  something  else,  returning 
to  it  again  and  yet  again,  until  at  last  it  reached 
completion.  Thus,  as  may  be  seen  by  the  dates 
given  above  in  the  list  of  his  principal  works,  a 
picture  might  be  for  years  upon  the  easel,  as,  for 
example,  'The  Prioress' Tale,'  which  though  begun 
in  1869  was  not  completed  until  the  end  was  near 
at  hand,  in  1898.  He  first,  as  a  rule,  carefully 
drew  in  chalk  or  pencil  the  design,  altering  it 
more  or  less  from  time  to  time  and  making, 
simultaneously,  whenever  an  interval  between 
other  labours  allowed,  most  careful  and  elaborate 
studies  of  the  various  details  he  proposed  to  intro- 
duce into  it  later.  When  at  length  the  arrangement 
was  to  his  liking  he  made  a  small  colour-sketch 
in  chalks  or  water-colours,  from  which,  if  the  idea 
seemed  of  sufficient  importance  to  be  carried  out 
on  a  large  scale,  he  painted  in  water-colours  a 
cartoon  of  the  same  size  as  the  canvas  he  intended 
to  use.  Finally,  when  every  incident  was  decided 
on  and  numberless  studies  had  been  made,  he 
began  upon  the  picture  itself,  and  so  thoroughly 
was  he  by  then  acquainted  with  every  detail  he 
proposed  to  embody  in  it,  that  although,  as  has 
been  said,  months  or  even  years  might  elapse 
between  two  periods  of  work  upon  it,  he  was 
enabled  to  resume  it,  when  he  wished  to  do  so, 
as  if  he  had  laid  it  aside  only  the  night  before. 
When  the   finishing  touches  had   been   bestowed 


>«/,■    hul/,r 


yii/iii  i'lyi//,///,/  i''  t/i,  ^Ja/(fMr.    /l.in/ 


PAINTERS  AND  ENGRAVERS. 


npon  it  the  completed  work  was  left  for  several 
years,  that  it  might  dry  thoroughly  before  it  was 
varnished  by  his  own  hand  with  the  utmost  care. 
There  was  never  a  more  notable  illustration  of  the 
disputed  dictum  that  genius  is,  to  some  extent, 
at  any  rate,  the  power  of  taking  pains.  Starting 
on  his  career  comparatively  late  in  life,  with 
nothing  but  his  vivid  imagination  as  capital, 
hampered  by  his  lack  of  directed  education  in  the 
painters'  craft,  by  sheer  patient  and  unfaltering 
perseverance  he  developed  from  the  helpless 
beginner  of  1856,  struggling  to  express  ideas  too 
great  for  his  unpractised  hand  to  grapple  with, 
into  the  most  poetical  and  imaginative  painter 
that  has,  perhaps,  ever  lived.  "To  sum  up  briefly, 
'  What  is  the  secret  of  the  charm  that  this  artist's 
works  exercise  upon  an  ever-increasing  multitude 
of  admirers?'  It  lies  firstly  in  the  vividly  poetical 
imaginativeness  of  his  conceptions,  and  secondly 
in  the  wealth  of  beautiful  accessories  in  which  he 
embodied  and  enshrined  them.  He  was  not  a 
great  painter  in  the  true  sense  of  the  word.  He 
never  attained  to  that  absolute  mastery  of  the 
materials  of  his  craft,  that  positively  riotous  ease 
of  workmanship  that  belonged  to  such  painters  as 
Rembrandt  and  Velasquez,  but  among  great  artists 
he  takes  his  place  undisputed  in  the  very  front 
rank.  His  earlier  work  suffered  technically  from 
the  delayed  commencement  and  peculiar  nature 
of  his  art  education,  and  even  in  his  matured 
years,  though  he  attained  a  marvellous  accuracy 
and  exquisiteness  of  touch  in  drawing,  he  never 
reached  real  breadth  or  strength  of  style  ;  but 
from  the  first  he  possessed  an  infallible  sense  of 
beauty  of  form  and  colour,  a  powerful  and  over- 
whelming originality,  and  an  unequalled  grace 
and  dehcacy  of  fancy."  M.  B. 

See  '  Sir  Edward  Bume-Jones,'  by  Malcolm  Bell. 
1903. 

BURNET,  James  M.,  a  younger  brother  of  John 
Burnet,  was  born  at  Musselburg  in  1788.  At  an 
early  age  he  showed  a  predilection  for  painting, 
and  frequented  the  evening  academy  of  Graham 
to  obtain  a  knowledge  of  the  elements  of  art. 
He  went  to  London  in  1810,  and  renewed  his 
studies.  He  found  in  Cuyp  and  Paul  Potter  much 
after  his  own  heart,  but  in  nature  more.  "  The 
fields  were  his  study,  nature  was  his  book."  In 
his  sketch-book  he  noted  down  beautiful  bits  of 
landscape,  cattle,  and  rustic  figures  pursuing  their 
avocations.  These  he  afterwards  embodied  in  his 
works,  and  produced  '  Cattle  going  out  in  the 
Morning,'  '  Cattle  returning  Home  in  a  Shower,' 
'  Crossing  the  Brook,'  '  Breaking  the  Ice,'  '  Milking 
Time,'  'The  Ploughman's  Return,'  and  other  pic- 
tures, full  of  high  promise.  Unfortunately  for  art, 
his  life  was  but  short ;  he  died  at  Lee  in  1816  in 
the  twenty-eighth  year  of  his  age,  to  the  regret  of 
all  who  could  appreciate  his  excellence.  He  was 
buried  in  the  churchyard  of  Lewishara  in  Kent,  a 
spot  in  which  he  delighted  during  his  life.  '  Taking 
Cattle  to  Shelter  during  a  Storm '  by  him  is  in  the 
Edinburgh  Gallery. 

BURNET,  John,  was  bom  near  Edinburgh,  in 
1784.  His  parents  placed  him  with  Robert  Scott, 
the  engraver,  at  Edinburgh,  and  from  him  he 
learned  the  practical  part  of  etching  and  en- 
graving. Concurrently  with  this  he  attended 
daily  at  the  Trustees'  Academy,  where  he  was  a 
fellow-pupil  with  William  Allen  and  David  Wilkie. 
Burnet  himself  says  of  this  period  of  his  career, 
"  I   have   often   thought  that   my   following   the 


profession  of  an  engraver  and  painter  at  the  same 
time  cramped  the  greater  extension  of  either,  as 
both  are  of  sufficient  difficulty  to  require  the  un- 
divided attention  to  arrive  at  a  high  degree  of 
excellence."  In  1806  he  paid  his  first  visit  to 
London.  "  Wilkie  having  preceded  me,"  Burnet 
says,  "  by  twelve  months,  the  fame  created  by 
his  picture  of  the  '  Village  Politicians '  produced 
such  a  sensation  in  Scotland  that  I  hastily  fimished 
my  engraving,  and  set  sail  for  London  in  a  Leith 
smack.  On  my  arrival  on  Miller's  Wharf,  I  seemed 
to  feel  what  most  Scotchmen  feel,  '  ample  room 
and  verge  enough,'  and  though  with  only  a  few 
shillings  in  my  pocket,  and  a  single  impression 
from  one  of  my  plates  for  Cooke's  'Novelists,'  I 
felt  myself  in  the  proper  element,  having  all  that 
proper  confidence  peculiar,  I  believe,  to  my  country- 
men. I  went  instinctively  toward  Somers  Town, 
where  many  of  my  brother  artists  resided,  and 
next  morning  to  No.  10,  Sol's  Row,  Hampstead 
Road,  to  call  on  Wilkie.  He  was  debghted  to  see 
me,  and  exclaimed,  '  I  am  glad  you  are  come,  for 
London  is  the  proper  place  for  artists.'  On  his 
easel  was  the  picture  of  the  '  Blind  Fiddler,'  which 
struck  me  as  a  wonderful  work  for  one  who  had 
seen  so  little  of  such  paintings  in  his  youth.  My 
first  engravings  after  settling  in  London  were  for 
Cooke's  '  Novelists,'  Britton  and  Bayley's  '  England 
and  Wales,'  Mrs.  Inchbald's  '  British  Theatre,'  &c., 
but  I  longed  for  some  larger  work  upon  which  to 
employ  my  graver,  and  bespoke  the  engraving  of 
'The  Jew's  Harp,'  of  the  same  size  as  the  paint- 
ing." This  was  the  first  picture  by  Wilkie  that 
was  engraved,  and  formed  the  commencement  of 
the  long  series  of  prints  after  his  admirable  works 
now  so  well  knewn  to  the  public.  The  engraving 
of  '  The  Jew's  Harp '  brought  Burnet  into  acquaint- 
ance with  William  Sharp,  the  celebrated  historical 
engraver,  and  "  the  great  founder  of  the  English 
school  in  this  department,"  and  its  success  led  to 
the  publication  of  others,  and  the  picture  of  '  The 
Blind  fiddler '  was  fixed  upon  to  be  engraved,  of 
a  large  size,  more  like  'The  Battle  of  La  Hogue,' 
by  Woollett.  As  '  The  Jew's  Harp  '  was  executed 
more  in  the  style  of  Le  Bas,  Burnet  tells  us  he 
executed  '  The  Blind  Fiddler '  in  the  manner  of 
Cornells  Vischer;  it  exhibits  more  graving  than 
etching,  and,  as  far  as  the  approbation  of  the 
public  went,  was  highly  popular  from  the  begin- 
ning. It  also  received  the  approbation  of  his 
brother  engravers.  Wilkie,  on  the  other  hand,  did 
not  greatly  approve  it ;  the  consequence  was  that 
Burnet  retouched  the  plate,  and  it  was  agreed  that 
the  whole  of  the  original  proofs  were  to  be  de- 
stroyed, and  fresh  ones  with  the  alterations  printed. 
This  gave  rise  to  two  sets  of  proofs  now  being  in 
existence.  The  first  proofs  have,  amongst  other 
peculiarities,  the  hat  of  the  boy  with  the  bellows 
in  single  line.  The  success  which  attended  the 
production  of  'The  Blind  Fiddler'  led  to  the  pro- 
duction of  a  companion  print,  and  '  The  Village 
Politicians '  was  the  one  fixed  upon  ;  but  Burnet 
eventually  threw  up  the  engraving  (which  was 
undertaken  by  Raimbach),  in  consequence  of  dis- 
agreeing with  the  terras  proposed,  which  were, 
that  "  the  engraving  was  to  be  executed  entirely  at 
his  (Burnet's)  own  expenses,  and  the  proceeds  of 
the  prints  divided  equally  between  the  painter  and 
engraver."  After  the  plate  of  '  The  Blind  Fiddler  ' 
other  prints  from  Sir  David  Wilkie  were  '  The 
Reading  of  the  Will,'  'The  Chelsea  Pensioners 
reading  the  Gazette  of  the  Battle  of  Waterloo,' 

219 


A  BIOGRAPHICAL  DICTIONARY  OF 


'  The  Babbit  on  the  Wall,'  '  The  Letter  of  Intro- 
duction,' '  The  Death  of  Tippoo  Saib,'  '  The  Village 
School.'  After  the  peace  of  1813,  Burnet  took  the 
opportunity  to  visit  Paris ;  and  for  five  months 
was  a  constant  visitor  to  the  Louvre,  copj'ing  and 
studying  from  the  magnificent  collection  that  had 
been  brought  from  all  parts  of  Europe  to  that 
gallery.  Shortly  afterwards  he  engraved  several 
plates  for  Foster's  '  British  Gallery ; '  of  these  '  The 
Letter  Writer,'  after  Metsu,  and  '  The  Salutation 
of  the  Virgin,'  after  Rembrandt,  are  considered  the 
best.  He  then  joined  the  Associated  Engravers, 
and  produced  the  well-known  plates  of  '  The  Jew,' 
'  The  Nativity,'  and  '  The  Crucifixion,'  after  Rem- 
brandt 

Burnet  occasionally  practised  painting,  and  with 
a  success  which  would  have  warranted  him  in 
devoting  himself  entirely  to  this  branch  of  art, 
had  his  destiny  not  been  already  set  in  another 
path.  His  principal  work  was  '  Greenwich  Hos- 
pital and  Naval  Heroes,'  painted  for  the  Duke  of 
Wellington,  and  intended  as  a  companion  picture 
to  Wilkie's  '  Chelsea  Pensioners '  and  which  he  had 
engraved.  The  Sheepshanks  Collection  contains 
two  of  his  works,  '  Cows  Drinking,'  painted  on 
panel  in  1817,  and  the  '  Fish  Market  in  Hastings.' 
His  other  best  known  paintings  were  '  The  Draught 
Players'  in  1808,  'The  Humorous  Ballad'  in  1818, 
'The  Valentine'  in  1820.  Burnet  will  long  be 
remembered  as  a  writer  on  art.  His  first  work,  'A 
Practical  Treatise  on  Painting,'  published  in  1827, 
brought  him  much  fame,  and  was  followed  by  'An 
Essay  on  the  Education  of  the  Eye.'  1837  ;  'Prac- 
tical Hints  on  Light  and  Shade,'  1838 ;  '  On  Colour 
in  Painting '  in  1843 ;  '  Rembrandt  and  his  Works ' 
in  1849  ;  '  Turner  and  his  Works '  in  1852  ;  as  well 
as  other  essaj's  of  minor  importance.  In  1860  he 
received  a  pension  from  the  Civil  List,  and  retired 
to  Stoke  Ne\ving^on,  where  he  passed  in  narrow 
means  the  few  remaining  years  of  his  life.  He 
died  in  April,  1868,  aged  84. 

BURNEY,  Edward  Francis,  a  relation  of  the 
celebrated  musician  Dr.  Burney,  was  bom  at  Wor- 
cester in  1760.  He  entered  the  Academy  school  at 
an  early  age,  and  gained  the  friendship  of  Sir 
Joshua  Reynolds.  He  exhibited  in  1780  three 
drawings  illustrating  '  Evelina,'  and  afterwards  a 
few  portraits.  He  is  best  known  by  his  book 
illustrations  (of  which  an  example  is  in  the  South 
Kensington  Museum),  and  by  a  portrait  of  Fanny 
Burney  (afterwards  Madame  d'Arblay),  which  was 
engraved  as  a  frontispiece  to  her  works.  He  died 
in  London  in  1848. 

BDENFORD,  — ,  an  obscure  English  engraver, 
was  employed  in  engraving  portraits,  frontis- 
pieces, and  other  book  plates  for  the  publishers. 
Among  his  portraits  is  that  of  William  Salmon, 
M.D.,  prefixed  to  his  'Synopsis  Medicine.' 

BURNITZ,  Carl  Peteb,  landscape  painter,  was 
bom  at  Frankfort-on-the-Main  in  1824.  He  was 
brought  up  to  the  profession  of  an  advocate,  and  in 
1847  took  his  doctor's  degree  at  Heidelberg,  but 
he  meantime  diligently  studied  art  without  a 
teacher.  After  travels  in  Spain  and  Algiers,  he 
lived  for  ten  years  in  Paris,  where  he  devoted  him- 
self entirely  to  painting,  and  received  valuable 
help  from  Dupr^,  Corot,  and  Theodore  Rousseau. 
He  first  exhibited  at  the  Salon  in  1855,  a  landscape 
which  was  bought  by  the  Emperor.  He  died  in 
1866. 

BURON,  ViRGiLE,  a  French  historical  painter, 
worked  at  Fontainebleau  under  the  direction  of 
220 


Primaticcio  and  Maitre  Boux  in  1528.  He  was 
distinguished  also  as  a  painter  of  ornaments. 

BURTON,  Sir  Frederick  William,  Knight, 
though  well  and  favourably  known  as  a  painter, 
for  the  most  part  in  water-colours,  to  connoisseurs 
and  critics  of  art,  will  be  more  widely  and  generally 
remembered  for  his  services  to  the  British  nation 
in  the  post  of  Director  of  the  National  Gallery,  a 
position  to  which  he  was  appointed  in  1874,  as 
successor  to  Mr.  Boxall,  RA.,  and  continued  to 
occupy  for  twenty  years,  at  the  end  of  which  he 
retired, having  considerably  exceeded  the  age  limit 
prescribed  by  the  Civil  Service  regulations.  His 
intimate  knowledge  of  the  works  of  the  old  masters 
and  his  unerring  judgment  of  their  methods  and 
manners  were  the  outcome  of  long  and  careful 
study  of  their  works  in  the  various  Galleries  of 
Europe,  a  study  begun  in  1851,  when  he  paid  a  first 
■srisit  to  Germany  and  Bavaria,  and  carried  on  during 
many  later  journeys  in  the  following  years.  The 
third  son  of  Samuel  Burton,  Esq.,  of  Mungret  in  the 
County  of  Limerick,  Ireland,  he  was  born  in  that 
country  in  1816.  He  was  sent  to  school  in  Dubhn, 
and  there  also,  his  artistic  bent  having  revealed  it- 
self at  any  early  age,  he  was  put  under  the  tuition 
of  Mr.  Brocas,  a  capable  and  sympathetic  teacher 
who  prophesied  a  distinguished  future  for  his  pupil. 
This  was  so  far  fulfilled  that  he  was  elected  an 
Associate  of  the  Royail  Hibernian  Academy  when 
he  was  only  twenty-one,  and  an  Academician  two 
years  later.  His  first  work  was  exhibited  at  the 
Royal  Academy  of  London  in  1842  ;  in  1855  he  was 
elected  an  Associate,  and  in  1856  a  full  member 
of  the  Royal  Societj'  of  Painters  in  Water-Colours, 
but  he  resigned  in  1870  in  protest  against  the 
ill-treatment,  as  he  considered,  of  his  young  fellow- 
painter  Burne-Jones ;  in  1888,  however,  he  was 
re-elected  as  an  honorary  member,  together  with 
the  artist  whose  cause  he  had  championed.  He 
received  the  honour  of  knighthood  in  1884,  and 
the  honorary  degree  of  LL.D.  from  the  University 
of  Dublin  in  1889,  and  died  at  Kensington  on 
March  16,  1900.  His  paintings,  though  never 
attaining  greatness,  were  always  sincere  in  purpose 
and  executed  with  a  minute  precision,  due,  to  some 
extent,  to  the  influence  of  the  Enghsh  Pre- 
Raphaelite  school.  M.B, 

BURTON,  W.  P.,  son  of  Capt.  Wm.  Paton 
Burton,  an  officer  in  the  Indian  army,  and  nephew 
of  Dr.  John  Hill  Burton,  was  born  at  Madras  in 
1828.  He  was  educated  in  Edinburgh,  and  entered 
the  office  of  David  Bryce  of  that  city,  intending  to 
become  an  architect,  but  eventually  devoted  him- 
self to  landscape  painting  in  water-colours.  He 
travelled  much  on  the  Continent  and  in  Egypt, 
and  produced  many  drawings  of  French  river 
scenerj',  and  of  old  buildings  in  Holland  and  Egypt, 
besides  numerous  studies  of  Surrey  and  Sussex 
landscape.  He  died  at  Aberdeen  on  the  3l8t  of 
December,  1883. 

BUS,  CoBXELis  VAN.    See  Bosch. 

BUSATI,  Andrea,  an  unimportant  follower  of 
the  Bellini,  is  the  author  of  a  signed  '  St.  Mark 
enthroned  between  SS.  Francis  and  Andrew,' 
painted  about  1510,  and  now  in  the  Venice 
Academy.  A  figure  of  a  Saint  in  the  Vtcenza 
Gallery  is  also  ascribed  to  him. 

BUSC,  — ,  an  amateur  engraver,  is  reported 
by  Basan  to  have  etched  several  plates,  among 
which  were  twenty-eight  after  Rembrandt,  and 
twenty  of  heads,  &c. 

BUSCA,  Antonio,  was  bom  at  Milan  in  1625, 


PAINTERS  AND  ENGRAVERS. 


and  was  a  scholar  of  Erode  Procaccini.  In  the 
church  of  San  Marco  he  painted,  in  competition 
with  his  master,  a  picture  of  'The  Crucifixion, 
with  the  Virgin,  Mary  Magdalen,  and  St.  John,' 
which  picture  is  quite  worthy  of  comparison  with 
the  works  of  Procaccini.  This  performance,  how- 
ever, he  never  afterwards  equalled.  Being  much 
af&icted  with  the  gout,  he  appears  to  have  been 
unable  to  undertake  anything  with  vigour ;  he 
sank  into  a  mannerist,  and  contented  himself  with 
frequently  repeating  the  same  subiects.  He  died 
in  1686. 

BUSCATI,  Ldca  Antonio,  (or  Busscat,)  was  a 
Bolognese  painter  of  the  15th  century.  A  '  Descent 
from  the  Cross '  by  him  is  in  the  Ercolani  Gallery 
at  Bologna,  an  outline  of  which  is  given  by  Rosini. 
Zani  considers  him  among  the  eminent  artists  of 
the  period,  and  the  print  justifies  the  opinion. 

BDSCH,  Friedrich,  a  genre  painter  in  Diissel- 
dorf,  was  born  in  1808.  He  died  in  1875.  He 
painted  many  charming  pieces,  amongst  them, 
'The  Spinner,'  'The  Huntsman  and  his  Sweet- 
heart,' and  'The  Weeping  Girl  at  the  Well.' 

BUSI  CARIANI,  Giovanni,  was  born  at  Fuipiano 
on  the  Brembo  in  the  latter  part  of  the  15th 
century.  His  first  recorded  painting  with  the 
date  of  1514,  and  his  last  with  the  date  of  1541, 
are  both  now  lost.  He  must  have  possessed 
considerable  skill  in  imitating  the  styles  of  the 
great  Venetian  masters,  for  many  galleries  pos- 
sess paintings  attributed  to  Bellini,  Giorgione, 
Palma  Vecchio,  and  Pordenone  which  are  really 
by  Busi  Cariani.  Crowe  and  Cavalcaselle  ascribe 
to  him  the  two  well-known  Heads  in  the  Louvre, 
formerly  thought  to  be  portraits  of  the  Bellini, 
and  still  assigned  to  the  hand  of  Gentile  Bellini. 
He  painted  at  both  Venice  and  Bergamo,  and  in 
the  latter  city  executed  frescoes  on  the  front  of 
the  Palace  of  the  Podesta,  a  Madonna  with  Saints 
above  the  side  portal  of  the  church  of  Santa  Maria 
Maggiore,  and  some  subjects  in  the  Piazza  Nuova, 
of  which  fragments  only  now  remain.  Only  two 
paintings  by  him  with  dates  aflSxed  are  known  to 
exist:  Seven  Portraits  in  a  landscape,  dated  1519, 
in  the  Roncalli  collection,  and  a  Madonna  and  Child 
with  patron,  dated  1520,  in  the  Casa  Baglioni, 
both  at  Bergamo.  The  Lochis-Carrara  gallery  at 
Bergamo  contains  seven  fine  paintings  by  Busi 
Cariani  ;  besides  which  there  are  examples  at 
Brescia  and  Berlin,  and  the  following: 
Dresden.  Gallery.  Rachel  and  Jacob. 
Uilan.  Brera.  Virgin  and  Child,  with  Angels 

and  seven  Saints. 
BUSINCK,  LuDWiG,  a  German  wood-engraver, 
was  born  at  Minden  about  the  year  1590,  and  was 
working  in  Paris  in  1640.  He  was  the  first  artist 
in  France  who  executed  woodcuts  in  chiaroscuro, 
and  his  productions  were  distinguished  by  a 
spirited  and  masterly  style.  Many  of  his  plates 
are  after  L'Alleraand,  others  from  his  own  designs, 
as  under : 

PROM   HIS  OWN  DESIGNS. 
Fidelity,  an  allegorical  piece.    1630. 
A  half-length  figure  playing  on  the  Flute.     1630. 
A  Cavalier ;  full-length.     1630. 
Two  of  Peasants. 

IN   CHIAROSCURO;    AFTER   G.    L'ALLEMAND. 
St.  Peter  holding  the  Keys ;  half-length. 
St.  John  and  St.  Matthew. 
Judith,  with  the  Head  of  Holofemes. 
Moses,  with  the  Tables  of  the  Law. 
A  Family  of  Beggars. 
A  young  Man  playing  on  the  Flute. 


.£neas  saving  Anchises  from  the  Burning  of  Troy. 

A  Holy  Family,  on  three  blocks  of  wood ;  one  for  the 

outline,  the  other  for  the  deep  shadows,  and  another 

for  the  demi-tints. 

BUSO,  Adrelio,  was  a  native  of  Crema,  and 
flourished  about  the  year  1520.  He  studied  under 
Polidoro  da  Caravaggio  and  II  Maturino,  and 
assisted  them  in  several  of  their  works  at  Rome. 
He  ornamented  the  palace  of  the  noble  family  of 
Benzoni,  at  Venice,  with  some  friezes  and  other 
works  in  the  style  of  Polidoro,  and  also  produced 
many  historic  pictures  in  his  native  city,  in  the 
manner  of  his  master. 

BUSS,  Robert  William,  was  born  in  the  parish 
of  St.  Luke,  London,  in   1804.     His  father,  who 
was  an  engraver  and  enameller,  took  him  as  an 
apprentice,  and  he  remained  in  the  business  six 
years.    From  the  strong  love  which  he  evinced  for 
drawing,   he  was   next   placed  in   the   studio   of 
George  CUnt,   A.R.A.,  who  taught  him   portrait 
and  subject  painting,  especially  for  the  production 
of  theatrical  scenes.     A  large  collection  of  works 
of  this  class  which  he  executed  for  Cumberland, 
mostly   as  illustrations   for    his  '  British   Drama,' 
were  in  after  years  exhibited  at  the  Coliseum  in 
Regent's  Park.     Buss  also  painted  a  great  number 
of  pictures  of   a  more  original  character,  which 
met  with   much   success.      Amongst   these   were 
many  humorous   subjects,    but  he  also  produced 
several  that  evinced  a  study  of  antiquities  and  old 
customs,  especially  a  large  painting  of  '  Christmas 
in  the  time  of  Queen  EHzabeth,'  which   was  ex- 
hibited at  the  Society  of  British  Artists,  and  the 
merit  of  which  procured  for  the  artist  his  engage- 
ment with  Charles  Knight  for  the  illustration  of 
his     '  Shakespeare,'     '  London,'    '  Old    England,' 
'Chaucer,'   and' '  The    Penny   Magazine,'   for   all 
of  which  he  prepared  numerous  original  designs 
on  wood.     These  were  followed  by  a  number  of 
etchings  upon  steel,  also  original,  in  illustration  of 
the    works  of    Marryat,   Mrs.  Trollope,   Harrison 
Ainsworth,  and  others.    His  largest  works,  painted 
for  the  Earl  of  Hardwicke,  are  now  in  the  Music 
Saloon  at  Wimpole,  in  Cambridgeshire.     They  are 
twenty  feet  wide  by  nine  high,  and  are  entitled 
respectively    '  The   Origin   of   Music '   and    '  The 
Triumph  of    Music'     For  Mr.  James   Haywood, 
M.P.,  he  executed  an  interesting  series  of  draw- 
ings, illustrative  of  '  College  Life  at  the  Universi- 
ties.'    Buss  also  prepared  a  series  of  four  lectures 
on  '  Satire,  Art,  and  Caricature,'  illustrated  by  300 
examples,   and  these   lectures   he  delivered  with 
success  at  most  of  the  literary  institutions  of  the 
kingdom.     He  died  in  London  in  1875.     A  com- 
plete list  of  his  works  was  published  in  '  Notes  and 
Queries'  for  1875,  Series  V.,  vol.  iii.     Among  his 
pictures  the  following  may  be  mentioned,  which 
have  been  engraved,  and  several  of  which  have 
achieved  considerable  popularity : 


The  Bitter  Morning. 
The  Stingy  Traveller. 
The  Wooden  Walls  of  Old 

England. 
Soliciting  a  Vote. 
The  Musical  Bore. 
The  Frosty  Reception. 
Master's  Out. 
Time  and  Tide  wait  for 

no  Man. 


The  Old  Commodore. 

Watt's  first  experiment  with 
Steam. 

The  First  of  September. 

The  Introduction  of  To- 
bacco. 

The  Biter  Bit. 

The  Romance. 

Satisfaction ! 


BUSSCAT.     See  Buscati. 

BUSSB,  Georq,  a  landscape  painter  and  en- 
graver, was  born  in  1810  at  Bennenmiihlen,  near 
Hanover.     He  studied  drawing  under  Giesewell, 

221 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  then  proceeded,  with  royal  assistance,  to  Dres- 
den, where  he  learnt  engraving  under  Stolzel,  and 
obtained  the  first  prize  for  that  art  in  1834.  For 
the  next  ten  years  he  was  studying  from  nature  in 
Italy  under  Poussin,  Claude,  and  Koch,  visiting 
Greece,  however,  in  1843.  On  his  return  he  was 
appointed  engraver  to  the  Hanoverian  court  and 
library,  but  pursued  painting  also  from  1847.  In 
1858  he  went  on  a  tour  of  study  through  Paris  to 
Algiers  and  Tunis,  in  the  course  of  which  he 
painted  a  large  number  of  flowers.  He  died  in 
Hanover  in  1868.  In  addition  to  sixty  plates  of 
etchings,  the  following  views  are  by  him : 

Euins  of  the  Imperial  Palace.    1850. 

Monte  Aventino.     1852. 

Lago  d'Agaano.     1857. 

The  Ear  of  Dionysius.     1862. 

Lake  Trasimene.     1863. 

BDSSE,  JoHANN,  a  German  engraver,  flourished 
about  the  year  1528.  He  may  be  ranked  in  the 
class  of  the  Little  Masters,  and  was  probably  a 
disciple  of  Heinrich  Aldegrever,  as  he  copied  some 
of  the  prints  of  that  master.  He  engraved  a  set 
of  small  plates  of  '  The  Seven  Planets,'  which  are 
marked  with  the  initials  of  his  name,  J.  B.,  with 
the  date  1528.  Strutt  also  attributed  to  him  a 
small  plate,  lengthways,  representing  a  man  and  a 
woman  dancing,  with  two  men  playing  on  musical 
instruments,  on  which  the  name  is  signed  at  length. 
Johann  Busse 

BUSSEMACHER,  Johann,  was  an  engraver  at 
Cologne,  as  well  as  a  printer  and  a  dealer  in  works 
of  art,  from  about  1580  to  1613.  Besides  several 
pictures  of  saints  and  numerous  other  copper-plate 
works,  he  produced  the  striking  plate  of  '  Frau 
Richmuth  rising  up  from  a  Trance,'  taken  from  a 
wall  painting  in  the  Church  of  the  Apostles,  pulled 
down  in  1785.  His  plates  are  signed,  Jans. 
Busse,  J.  Bussm.,  Jo  Buss,  Johan  Busseinec,  I. 
Busem..  &c. 

BUSSLER,  Ekkst  Friedrich,  was  bom  at 
Berlin  in  1773.  He  studied  several  years  at  the 
Academy,  and  at  length  painted  some  miniatures 
and  worked  with  the  etching  needle  and  the  burin. 
Later  on  he  published  a  work  '  On  the  Ornaments 
of  Antiquity,'  comprising  126  engravings.  Another 
work  on  •  "The  Costumes  of  the  Middle  Ages '  was 
interrupted  by  the  events  of  1806 ;  most  of  his 
paintings  are  historical. 

BDSTAMANTE,  Francisco,  who  was  bom  at 
Oviedo  about  1680,  studied  painting  with  Miguel 
Jacinto  Menendez  at  Madrid.  On  the  ceiling  of 
the  sacristy  of  Oviedo  Cathedral  he  painted  a 
fresco  representing  '  The  Asumption  of  the  Blessed 
Virgin,'  from  a  sketch  sent  from  Rome  ;  also  a 
series  for  the  cloister  of  the  Franciscans.  He 
excelled  in  portraiture  ;  his  likenesses,  executed 
with  fidelity  and  skill,  are  to  be  met  with  in  the 
best  houses  of  the  Asturias.  He  died  in  Oviedo 
in  1737. 

BDSTINO.    See  Ceespi. 

BUTAVAND,  LnciEN,  a  French  engraver,  was 
bom  at  Vienne  in  1808.  He  studied  under  Orsel, 
Richomme,  and  Ingres,  and  died  in  Paris  in  1853. 
His  best  works  are  : 

I>a  Vierge  au  coussin  vert  ;  after  A.  Solaria. 

The  Dismissal  of  Hagar  ;  after  Dumas. 

Jesus  Christ  before  Caiaphas ;  after  Overbeck. 

The  Ascen.sion  ;  after  the  same. 

The  two  last  form  part  of  a  set  of  twelve  plates 
after  Overbeck,  engraved  by  Butavand,  Keller,  and 
Steifensand. 
222 


BUTER'WECK.    See  Bouterweck. 

BUTI,  LoDovico,  a  Florentine  painter,  flourished 
about  the  year  1600.  He  was  a  scholar  of  Santo 
di  Titi,  under  whom  he  showed  early  marks  of 
ability.  On  leaving  that  master,  he  applied  him- 
self to  imitate  works  of  Andrea  del  Sarto,  whose 
manner  he  adopted  with  success.  Baldinucci  men- 
tions several  of  the  productions  of  this  master  in 
the  churches  and  palaces  at  Florence ;  and  particu- 
larly commends  his  picture  of  '  The  Ascension '  in 
the  Ognissanti.  But  perhaps  his  most  creditable 
performance  is  his  picture  of  '  The  Miracle  of  the 
Loaves,'  in  the  Gallery  at  Florence. 

BDTIN,  Ultsse,  painter,  was  bora  at  Saint 
Quentin  in  1838.  He  early  showed  a  talent  for 
art,  but  his  parents  were  poor,  and  could  not 
afford  to  educate  him  fully.  He  accordingly  began 
his  career  as  a  designer  of  patterns  for  muslins  in 
a  factory  of  his  native  town.  While  thus  en- 
gaged he  won  a  prize  of  three  hundred  francs,  and 
with  the  money  travelled  to  Paris,  where  he  com- 
bined work  at  his  trade  with  study  under  Picot  at 
the  Ecole  des  Beaux  Arts.  In  1871  he  made  his 
delnit  at  the  Salon  with  a  picture  called  'Le 
BoufPon.'  He  subsequently  exhibited  many  pic- 
tures, chiefly  scenes  of  fisher  life.  Among  the  best 
of  these  were  '  Waiting  for  the  Boats,  Villerville ' 
(1875),  and  '  A  Sailor's  Funeral,  Villerville  '  (1878). 
■The  latter  is  in  the  Luxembourg.  For  twelve 
years  he  held  h  post  of  professor  of  drawing  to 
the  ficoles  de  la  Villa  de  Paris.  He  died  in  Paris, 
December  9,  18B3. 

BDTTERl,  Giovanni  Maria,  was,  according  to 
Baldinucci,  a  native  of  Florence,  and  a  scholar  of 
Agnolo  Bronzino.  Although  he  painted  history 
with  some  success,  his  drawing  is  much  less 
correct  than  that  of  his  master,  and  his  colouring 
rather  harsh  and  crade.  There  are  several  of  his 
works  in  the  churches  and  convents  at  Florence, 
where  he  died  in  1606. 

BDTTINONE  (or  Butinone).  See  Jacobi, 
Bernardino. 

BUTTS,  John,  who  was  bom  and  educated  at 
Cork,  spent  most  of  his  life  at  Dublin.  He  painted 
landscapes  somewhat  in  the  style  of  Claude  Lor- 
rain :  he  also  practised  as  a  scene-painter.  He 
died  in  1764. 

BDTTDRA,  Eugene  Ferdinand,  a  French  his- 
torical landscape  painter,  son  of  the  poet,  was 
bora  in  Paris  in  1812.  He  commenced  his  studies 
in  the  atelier  of  Berlin,  from  which  he  went  to 
that  of  Delaroche.  He  carried  o£E  the  great  prize 
of  Rome  for  landscape,  in  1837,  with  his  picture 
of  '  Apollo  inventing  the  seven-stringed  Lyre. '  On 
his  return  from  Rome  in  1842,  he  exhibited  'The 
Ravine,'  and  in  1848,  '  Daphne  and  Chloe  at  the 
Fountain  of  the  Nymphs,'  for  each  of  which  he 
was  rewarded  with  a  gold  medal.  Amongst  his 
other  more  important  works  are  'Nausicaa  and 
Ulysses,'  '  Saint  Jerome  in  the  Desert,'  and  '  A 
View  of  Tivoli.'  He  also  produced  some  small 
pictures,  in  the  style  of  the  realistic  school,  such 
as  'Campo  Vicino '  (1845),  which  was  lithographed 
by  Anastasi;  'The  Temple  of  Antoninus  and 
Faustina'  (1846),  a  'View  of  the  Cascades  of 
Tivoli,'  and  a  '  Park  Interior,'  which  by  their 
neatness  and  sharpness  of  efEect  and  minuteness 
of  detail  rival  the  pro-luctions  of  photography. 
He  died  in  Paris  in  1852. 

BUYS,  Jacobus,  a  Dutch  painter  and  engraver, 
was  born  at  Amsterdam  in  1724.  He  studied  un- 
der C.  Pronk,  Jacob  de  Wit,  and  C.  Troost,  and 


PAINTERS  AND  ENGRAVERS. 


ultimately  became  director  of  the  Drawing  Acad- 
emy of  his  native  city,  where  he  died  in  1801.  He 
painted  portraits,  bas-reliefs,  and  tapestry,  designed 
book-illuetrations,  and  made  copies  of  the  works 
of  the  best  masters  of  the  seventeenth  century. 

BUYSEN.     See  Buisen. 

BUYTENWEG.     See  De  Boytenweo. 

BYE.     See  Db  Bye. 

BYER,  Nicholas,  born  at  Drontheim  in  Norway, 
painted  historical  subjects  and  portraits.  He  was 
employed  by  Sir  William  Temple  for  three  or  four 
years,  at  his  house  at  Sheen,  near  Richmond.  He 
died  at  Sheen  in  1681. 

BYFIELD,  John,  a  wood  engraver  of  repute, 
obtained  much  credit  for  his  copies  of  Holbein's 
'  Icones  Veteris  Testamenti,'  published  by  Picker- 
ing in  1830,  and  the  '  Dance  of  Death,'  published 
in  1833.  His  sister  Mary,  who  survived  him, 
was  likewise  an  excellent  engraver,  and  executed 
most  of  the  book  ornaments  designed  by  Charlotte 
Whittingham  for  the  Chiswick  press. 

BYLAERT.     See  Bijlaert. 

BYNG,  Edward.    See  Bing. 

BYRNE,  Anne  Frances,  who  was  born  in  1775, 
was  a  daughter  of  William  Byrne,  and  was  elected 
in  1806amember  of  the  Water-Colour  Society:  she 
became  celebrated  as  a  painter  of  flowers  and  fruit. 
She  died  in  1837.  Her  sister  Letitia  Byrne  like- 
wise turned  her  attention  to  art,  and  practised 
etching  and  engraving  for  book  illustrations  with 
much  success.     She  died  in  1849. 

BYRNE,  John,  the  only  son  of  William  Byrne, 
was  born  in  1786,  and  for  some  time  followed  his 
father's  profession  ;  but  subsequently  directed  his 
attention  toward  landscape  painting  in  water- 
colours.  He  sent  pictures  to  the  exhibitions  of 
the  Water-Colour  Society  and  the  Royal  Academy  ; 
and  spent  some  years  (about  1832-37)  in  Italy.  He 
died  in  1847.  In  the  South  Kensington  Museum 
are: 
The  Ferry  at  Twickenham  {exhibited  in  1830). 
ItaUau  Landscape,  with  Monastery. 

BYRNE,  William,  an  engraver,  was  born  in 
London  in  1743.  After  studying  some  time  under 
his  uncle,  an  artist  little  known,  he  went  to  Paris, 
where  he  became  a  pupil  of  Aliamet,  and  after- 
wards of  Wille.  He  died  in  London  in  1805,  and 
was  buried  in  Old  St.  Pancras  churchyard.  Byrne 
may  be  justly  ranked  among  our  eminent  en- 
gravers of  landscape.  His  works  are  considerable  ; 
the  following  are  the  most  deserving  of  notice : 

Villa  Madama:  after  S.  Wilson  (Society  of  Arts  medal, 

1765).  V  y  ./ 

Antiquities  of  Britain  ;  from  drawings  by  Thos.  Hearne. 
Views  of  the  Lakes  of  Cumberland  and  Westmoreland ; 

after  Farrington. 
Scenery  of  Italy;  after  the  fine  designs   of  Francis 

Smith. 
Apollo  watching  the  Flocks  of  King  Admetns ;  after 

Filippo  Lauri  ;  the  companion  to  WooUett's  print  of 

Diana  and  Act^Bon. 
The  FUght  into  Egypt ;  a  landscape ;  after  Domenichino. 
Evening  ;  a  landscape  ;  after  Claude  Lorrain. 
Abraham  and  Lot  quitting  Egypt ;  after  Zuccarelli;  the 

figures  by  Bartolozzi. 
A  Sea-piece  ;  after  Vernet. 
Evening;   after  Both;  the  landscape  by  Byrne,  the 

figures  by  Bartolozzi. 
Two  Views  of  Leuben,  in  Saxony  ;  after  Dietrich. 
The  Death  of  Captain  Cook  ;  the  figures  by  Bartolozzi. 
The  Falls  of  Niagara ;  after  S.  Wilson. 

BYSS,  JoHANN  Rudolph,  a  Swiss  painter,  was 
born  at  Soleure  in  1660.  He  painted  easel  pic- 
tures of  historical  subjects  in  landscapes,  and  was 


especially  successful  in  representing  animals  and 
birds.  He  is  also  stated  by  his  countryman  and 
biograpner  Fiissli  to  have  painted  flower  pieces,  in 
which  he  equalled  Jan  van  Huysum.  In  the  castle 
at  Pomraersfelden  are  several  frescoes  by  him, 
and  in  the  Picture  Gallery  of  that  town  an  alle- 
gorical '  Panegyric  upon  the  Erection  of  the  Castle,' 
and  two  pictures  of  '  Paradise,'  with  many  beasts 
and  birds.  Other  frescoes  and  paintings  by  him 
are  in  the  castle  at  Wiirzburg,  where  he  died, 
while  holding  the  post  of  court  painter,  in  1738. 
An  '  Interior  of  a  Dining  Room '  by  him  is  in  the 
Pinakothek  at  Munich. 

c 

CABANEL,  Alexandre,  painter,  was  born  at 
Montpellier  in  1823.  He  came  to  Paris  at  an  early 
age, entered  Picot's  atelier,  and  crowned  a  successful 
course  at  the  ficole  des  Beaux  Arts  by  gaining  the 
prix  de  Rome  in  1845.  While  in  Rome  he  painted 
a  'Death  of  Moses,'  which  attracted  considerable 
attention  at  the  Salon  of  1852,  and  for  which  he 
was  awarded  a  medal  of  the  second  class.  Another 
meritorious  early  work  was  his  '  Glorification  of 
Saint  Louis,'  exhibited  at  the  Salon  of  1855,  and 
now  in  the  Luxembourg.  But  the  picture  by 
which  he  is  best  known  is  his  '  Birth  of  Venus '  of 
1863,  also  in  the  Luxembourg,  which  was  engraved 
by  Jules  Franjois,  and  in  which  the  painter  may 
be  said  to  have  reached  the  highest  expression  of 
his  graceful,  delicate,  and  insipid  art.  Under  the 
Second  Empire,  Cabanel  became  the  fashionable 
portraitist  of  his  day,  and  painted  most  of  the 
elegantes  of  the  third  Napoleon's  Court.  "  His 
satiny  complexions  and  mincing  hands,"  says  a 
French  critic,  "  were  a  continual  source  of  delight 
to  ladies  and  irritation  to  artists."  His  portrait  of 
the  Emperor,  painted  for  the  Empress,  gained  the 
mddadle  cThonneur  of  1865.  Under  the  Republic 
Cabanel  was  no  less  popular,  and  up  to  the  very 
time  of  his  death  was  overwhelmed  with  com- 
missions. As  a  teacher  he  was  very  successful. 
His  studio  at  the  ficole  des  Beaux  Arts  was  one  of 
the  most  frequented,  and  he  turned  out  artists  of 
such  widely  diverse  gifts  as  Benjamin  Constant, 
Bastien-Lepage,  Albert  Besnard,  Aim6  Morot, 
Fernand  Corraon,  and  Henri  Gervex,  besides  many 
others.  Though  himself  faithful  to  the  traditions  of 
Cogniet,  Ingres,  and  Abel  de  Pujol,  Cabanel  showed 
great  liberality  in  his  relations  with  his  pupils, 
never  seeking  to  impose  his  own  style  upon  them, 
but  endeavouring  to  develop  the  individual  bent 
of  each.  In  1863  Cabanel  succeeded  Horace  Vernet 
as  a  member  of  the  Institute.  He  was  also  a  member 
of  a  long  list  of  foreign  academies,  and  won  a  large 
share  of  ofBcial  honours.  He  died  in  Paris,  January 
22,  1889,  and  was  buried  at  his  native  Montpellier. 

CABAT,  Nicholas  Louis,  French  landscape 
artist  and  member  of  the  Institute.  He  was  born 
in  Paris  on  the  24th  of  December  in  the  year  1812, 
and  studied  painting  under  Caniille  Flers.  In  early 
life  he  went  through  some  of  the  most  picturesque 
parts  of  France,  exploring,  by  preference,  the  banks 
of  the  Indre,  those  of  the  Meurthe  and  Calvados. 
He  first  exhibited  in  the  Salon  of  1833,  landscapes 
which  were  accused  of  realism,  but  persevered  until 
1837  in  the  style  he  had  adopted,  and  formed  a 
school.  Until  1848  he  only  fiijured  twice  in  the 
yearly  exhibitions  (those  of  1840  and  1841),  and 
made  two  trips  to  Italy,  but  since  that  date  he 
exhibited  almost  without  a  break.     '  Souvenirs  du 

223 


A  BIOGRAPHICAL  DICTIONARY  OF 


Lac  de  Nemi.'  exhibited  with  '  Une  Source  dans 
Jes  Bois'  in  1864,  was  acquired  by  the  Emperor 
Napoleon  III.,  aud  re-eshibited  at  the  Universal 
Exhibition  of  1867,  where  it  was  awarded  a  third- 
class  medal.  He  had  gained  a  second-class 
medal  at  the  Salon  of  1831.  He  also  etched  a  few 
plates  from  which  a  limited  number  of  proofs  were 
struck  off.  Elected  a  member  of  the  Academy  of 
Beaux  Arts,  he  replaced  M.  Brascassat  in  November 
1867.  Exactly  eleven  years  later  he  was  named 
Director  of  the  French  School  of  Rome,  wliich  post 
he  occupied  until  1884.  Chevalier  of  the  Legion  of 
Honour  since  1843,  he  was  promoted  officer  on  the 
14th  of  November,  1855.  His  pictures  of  '  Le  Jeune 
Tobie  presents  par  I'Ange  k  Raguel,'  '  Le  Lac  de 
Nemi,'  and  '  Genzano,  prfes  de  Rome,'  were  acquired 
by  the  Due  d'Orleans.  Most  of  his  best-known 
pictures  have  been  reproduced  in  '  L' Art'ste '  and 
other  periodicals.  He  died  on  the  13th  of  March, 
1893. 

CABEL,  Adbiaen  van  der.    See  Van  der  Cabel. 

CABEZA  DE  VACA,  Francisco  Vera,  was  bom 
about  1637  of  a  distinguished  family  at  Calatajnid, 
and  began  life  as  page  to  Don  Juan  of  Austria  at 
Saragossa.  With  the  example  of  this  master,  and 
some  instruction  from  Josef  Martinez,  he  became 
a  skilful  amateur  painter,  especially  of  portraits. 
Cabeza  de  Vaca  did  not  accompany  his  master, 
Don  Juan,  to  the  seat  of  government,  but  settled 
at  his  native  Calatayud,  where  he  spent  a  life  of 
piety  and  almsgiving,  preparing  himself  for  work 
by  confession  and  the  Eucharist,  and  thus  gaining 
high  repute  for  holiness.  He  is  the  last  Spanish 
painter  of  whom  it  is  said  that  the  Blessed  Virgin 
herself  stood  by  his  easel  and  unveiled  her  celes- 
tial charms,  that  he  might  portray  them  in  the 
picture  of  '  'The  Holy  Family,'  which  was  jealously 
preserved  and  fervently  adored  in  the  convent  of 
the  Holy  Sepulchre.  The  favoured  artist  died  at 
Calatayud  in  1700. 

CABEZALERO,  JnAN  Martin,  a  Spanish  painter, 
was  born  at  Almaden,  near  Cordova,  in  1633.  He 
was  a  disciple  of  Juan  Carreno  de  Miranda,  and 
gained  considerable  reputation  by  his  historical 
paintings.  His  principal  works  are  at  Madrid,  two 
of  the  most  esteemed,  representing  '  The  Assump- 
tion of  the  Virgin '  and  '  St.  lldef  onso,'  being  in 
the  church  of  San  Nicolas.  He  also  painted  for  the 
church  of  the  Franciscans  an '  Ecce  Homo '  and  '  The 
Crucifixion.'  His  '  Judgment  of  a  Soul '  is  in  the 
Museo  Nacional  at  Madrid.  He  died  at  Madrid  in 
1673. 

CABRERA,  Geronimo,  a  Spanish  painter  of  con- 
siderable merit,  was  a  pupil  of  Gasparo  Becerra. 
He  painted  a  large  number  of  religious  subjects 
for  churches  and  convents,  but  excelled  especially 
in  fresco,  in  which  he  executed  some  decorations 
for  the  royal  snooting-box  of  El  Pardo,  near  Madrid, 
about  1570,  but  these  perished  by  fire  in  1604.  His 
name  is  now  almost  unknown,  doubtless  by  reason 
of  his  works  passing  as  those  of  his  master.  There 
is  no  record  of  his  birth  or  death. 

CACAULT,  Pierre  Rene,  a  French  historical 
painter,  was  born  at  Nantes  in  1744.  He  was  a 
pupil  of  Vien,  but  he  never  rose  above  mediocrity. 
He  died  at  Clisson  in  1810.  The  Museum  of  Nantes 
has  by  him  'A  Man  seated  on  a  Tiger's  Skin.' 
He  was  the  brother  of  Francois  Cacault,  ambas- 
sador of  France  at  Rome,  whose  fine  collection  of 
works  of  art  was  acquired  by  the  city  of  Nantes  in 
1810.  ^  ^  ^ 

CACCIA,  Gdglielmo,  called  Moncalvo,  was  a 
224 


Piedmontese,  born  at  Montabone,  in  Monferrato, 
in  1568.  He  was  named  Moncalvo  from  his  long 
residence  at  that  place.  Although  he  is  believed 
to  have  been  a  pupil  of  Soleri,  it  has  not  been 
definitely  ascertained  under  whom  he  studied. 
He  first  settled  at  Milan,  where  he  painted  some 
pictures  for  the  churches,  but  afterwards  resided 
for  some  time  at  Pavia,  where  he  was  made  a 
citizen.  He  also  visited  Novara,  Vercelli,  Alessan- 
dria, and  Turin,  and  Genoa  is  not  without  some  of 
his  paintings.  His  style  has  something  of  the 
energy  of  the  Carracci ;  but  it  has  been  observed 
by  Lanzi,  that  if  he  had  been  educated  in  the 
school  of  the  Carracci,  it  is  probable  that  he 
would  have  left  some  of  his  works  at  Bologna, 
and  that  in  his  landscapes  he  would  have  shown 
more  of  the  taste  of  Annibale  than  of  Paulua 
Bril.  His  manner  partakes  altogether  more  of 
the  Roman  than  of  the  Bulognese  school.  There 
is  a  '  Madonna '  by  him  in  the  Gallery  at  Turin, 
which,  were  the  colour  a  trifle  brighter,  might  well 
pass  for  a  work  of  Andrea  del  Sarto.  As  a  fresco 
painter  his  ability  was  considerable.  In  the  church 
of  Sant'  Antonio  Abbate,  at  Milan,  he  painted  in 
fresco  the  titular  Saint,  ^vith  St.  Paul,  the  first 
hermit,  a  work  which  is  able  to  sustain  its  posi- 
tion in  proximity  to  some  of  the  best  productions 
of  the  Carloni.  Another  distinguished  perform- 
ance in  fresco  by  Caccia  is  the  cupola  of  San 
Paolo  at  Novara.  Of  his  oil  paintings,  the  most 
efiEective  are  '  St.  Peter,'  in  the  Chiesa  della  Croce, 
'  St.  Theresa,'  in  the  church  of  the  Trinity,  both 
in  Turin,  and  the  'Taking  down  from  the  Cross,' 
in  the  church  of  San  Gaudenzio  at  Novara,  which 
is  considered  by  many  to  be  his  ckef-cToeuvre.  At 
Moncalvo,  the  church  of  the  Conventual!  may  be 
considered  as  a  gallery  of  his  works.  At  Chieri 
also  are  two  fine  pictures  by  this  master,  the 
'  Raising  of  Lazarus '  and  the  '  Miracle  of  the 
Loaves,'  admirably  composed,  and  of  the  finest 
expression.     He  died  about  1625. 

CACCIA,  Orsola  Maddalena,  was  a  daughter 
of  Guglielmo  Caccia,  who,  in  common  with  her 
sister  Feancesca,  assisted  in  producing  the  paint- 
ings in  the  monastery  at  Moncalvo.  Other  paint- 
ings by  the  sisters  are  to  be  found  in  the  vicinity. 
They  partake  of  the  character  of  the  works  of  their 
father,  but  lack  their  animation.  Orsola  died  in 
1678,  and  Francesca  at  the  age  of  57. 

CACCIANEMICI,  Francesco,  was  a  Bolognese 
painter,  educated  in  the  school  of  Primaticcio,  who 
was  considered  by  that  master  so  promising  a 
scholar  that  he  made  choice  of  him  as  one  of 
the  young  artists  who  should  accompany  him  to 
France,  when  he  was  invited  to  the  Court  of 
Francis  I.  He  assisted  Primaticcio  in  his  great 
work  at  Fontainebleau,  and  was  employed,  in  con- 
junction witn  II  Rosso,  in  several  other  important 
works.  He  died  in  1542.  For  another  Feancksco 
Caccianemici  see  Capelli.  Francesco. 

CACCIANEMICI,  Vincenzo,  was  a  Bolognese 
gentleman,  who  was  instructed  in  the  art  of  paint- 
ing by  Parmigiano.  Vasari  mentions  a  picture  by 
this  amateur  artist  in  the  chapel  of  the  family  of 
Elefantuzzi,  in  San  Petronio  at  Bologna,  represent- 
ing '  The  Decollation  of  St.  John  ; '  and  another 
picture  of  the  same  subject,  differently  treated,  in 
the  Cappella  Macchiavelli  in  San  Stefano.  He 
flourished  about  the  year  1530.  There  are  a  few 
etchings,  marked  V.  C-  F.  (and  in  one  case  with 
V-  0.  reversed),  which  are  attributed  to  this  painter, 
and  which  are  executed  with  much  spirit  in  a  style 


PAINTERS  AND  ENGRAVERS. 


resembling  that  of  jEneas  Vico.  Amongst  them 
are: 

Diana  returning  from  the  Chase. 

A  Landscape,  witn  a  Nymph  and  Dogs. 

The  Adoration  of  the  Shepherd.s ;  j^obably  after  a  design 
by  Parmigiano. 

The  Death  of  Abel. 

St.  Jerome  in  a  Grotto. 

CACCIANIGA,  Francesco,  was  a  painter  and 
engraver,  born  at  Milan  in  1700,  who  studied  at 
Bologna  in  the  school  of  Marc  Antonio  Frances- 
chini.  He  afterwards  visited  Rome,  where  he 
established  himself,  xmder  the  patronage  of  Prince 
Borghese,  for  whom  he  executed  some  consider- 
able works  in  the  Palazzo  and  the  Villa  Bor- 
ghese. His  principal  works  are  at  Ancona,  where 
he  painted  several  altar-pieces  and  pictures  for  its 
churches  and  public  buildings,  of  which  the  most 
esteemed  are  'The  Marriage  of  the  Virgin'  and 
■The  Last  Supper.'  Some  few  engravings  by  him 
are  known,  one  being  '  The  Death  of  Lucretia,' 
from  a  painting  by  himself.  His  death  occurred 
in  1781. 

CACCIOLI,  Giovanni  Battista,  was  bom  in 
the  castle  of  Budrio,  near  Bologna,  in  1636. 
He  was  the  pupil  of  Domenico  Maria  Canuti,  and 
became  a  good  imitator  of  Cignani.  He  painted 
several  pictures  for  the  churches  of  Bologna,  and 
was  greatly  patronized  by  the  Dukes  of  Parma  and 
Modena.  According  to  Padre  Orlandi  he  died  in 
1675. 

CACCIOLI,  Giuseppe  Antonio,  a  painter  and 
engraver,  was  the  son  of  Giovanni  Battista  Caccioli. 
He  was  born  at  Bologna  in  1672,  and  was  a  pupil 
of  the  brothers  Rolli.  His  works,  which  are 
mainly  architectural  and  painted  in  fresco  and  in 
oil,  are  to  be  found  chiefly  in  Florence  and  Bologna, 
and  are  superior  to  what  might  have  been  expected 
from  the  character  of  his  instruction.  He  appears 
to  have  visited  Baden  during  his  career.  'Three 
etchings  by  him  are  known,  remarkable  for  a  light 
and  easy  touch.     He  died  in  1740. 

CADEAD,  Ren6,  a  French  portrait  painter,  was 
born  at  Angers  in  1782.  He  studied  under  Baron 
Guerin,  and  died  in  Paris  in  1858. 

CADES,  Giuseppe,  a  sculptor  as  well  as  painter 
and  engraver,  was  born  at  Rome  in  1750.  He 
studied  under  Mancini  and  Corvi,  gaining  a  prize 
in  1765  with  his  picture  of  'Tobias  recovering  his 
Sight.'  He  visited  Florence  in  1766,  where  he  occu- 
pied himself  in  copying  ;  and  two  years  later  exe- 
cuted an  altar-piece  for  San  Benedetto  in  Turin, 
and  in  1771  another  f  or  the  Santi  Apostoli.  He  also 
decorated  the  Palazzo  Chigi  with  frescoes,  land- 
scapes, and  scenes  from  Tasso.  He  possessed  a 
wonderful  facility  in  counterfeiting  the  works  of 
Raphael,  Michelangelo,  Domenichino,  and  Leonardo 
da  Vinci.  He  has  left  two  etchings,  viz.,  '  Christ 
blessing  Little  Children,'  and  'The  Death  of 
Leonardo  da  Vinci.'     He  died  at  Rome  in  1799. 

CADORE,  Tiziano  da.     See  Vecelli. 

CADORIN,  Mattia,  otherwise  known  as  Bol- 
ZETTA,  was  an  engraver  and  publisher  who  flourished 
at  Padua  about  1648.  He  engraved  after  Titian 
and  others.  His  plates  are  generally  marked  merely 
with  the  name  Cadorin. 

GADORINO,  who  was  a  painter  of  the  17th  cen- 
tury, was  a  friend  of  Nicolas  Poussin.  The  paint- 
ings of  amoretti,  executed  in  so  life-like  a  style, 
and  characterised  by  so  much  grace,  that  are  now 
in  the  Fol  Collection  at  Geneva  are  probably  his 
work. 


CAFFI,  Cavaliere  Ippolito,  was  a  painter  of 
architectural  subjects  and  sea-pieces,  born  at  Bel- 
luno  in  1814.  His  first  work  was  produced  at  the 
Venice  Academy.  He  subsequently  removed  to 
Rome,  where  he  worked  laboriously  as  a  teacher  of 
drawing,  and  made  some  little  reputation  by  his 
treatise  on  Perspective,  as  well  as  by  his  investiga- 
tions on  the  subject  of  Roman  Monuments.  In 
1843  he  visited  Greece  and  the  East.  The  first 
work  of  his  that  created  a  sensation  was  '  The  Car- 
nival at  Venice.'  This  was  exhibited  at  Paris  in 
1846,  and  in  consequence  of  its  brilliant  effects  of 
light  created  such  a  furore  that  he  had  to  repro- 
duce it  some  forty  times.  Other  works  deserving 
of  notice  are  his  '  Panorama  of  Rome  from  Monte 
Mario,'  '  Isthmus  of  Suez,'  and  '  Close  of  the 
Carnival  at  Rome.'  Taking  part  in  the  revo- 
lutionary movement  at  Venice  in  1848,  he  had  to 
retire  into  Piedmont.  His  intention  of  producing 
a  painting  commemorative  of  the  first  Italian  naval 
engagement  was  frustrated  by  the  destruction  of 
the  '  Re  d'ltalia,'  the  vessel  on  board  of  which  he 
was,  when  lie  perished  at  Lissa  along  with  his 
comrades  in  1866. 

CAFFI,  Maegherita,  an  Italian  painter  of 
flowers  and  fruit,  flourished  during  the  18th  cen- 
tury. She  is  said  to  have  been  a  native  of  Florence, 
Cremona,  or  Vicenza,  but  no  details  of  her  life  are 
known. 

CAGLIARL     See  Caliari. 

CAGNACCI,  II.     See  Canlassi. 

CAGNONI,  D.,  was  an  Italian  engraver  of  little 
celebrity,  who  appears  to  have  been  principally 
employed  by  booksellers.  His  name  is  affixed  to  a 
portrait  of  Victor  Amadeus,  third  King  of  Sardinia. 

CAHISSA,  Nicc«l6,  was  a  painter  born  in  1730, 
who  produced  some  excellent  specimens  of  flower 
subjects,  vegetable  pieces,  birds,  &c.  He  worked 
both  at  Rome  and  at  Naples. 

CAILLEAU,  Hubert,  a  French  historical  and 
miniature  painter,  who  flourished  at  Valenciennes 
in  1530.  There  are  in  the  National  Library  at  Paris 
some  clever  designs  made  by  him  for  a  mystery  of 
the  Passion  which  was  acted  at  Valenciennes  in 
1547. 

CAILLOUX,  Alexandre  Achille  Alphonse 
(called  De  Cailleux),  a  French  artist,  was  born  at 
Rouen  in  1788.  After  having  exhibited  some  pic- 
tures at  the  Salon  of  1822,  he  undertook,  in  con- 
junction with  Baron  Taylor  and  Charles  Nodier,  the 
production  of  the  '  Voyages  pittoresques  et  roman- 
tiques  de  I'ancienne  France,'  and  to  him  are  due 
both  the  text  and  the  drawings  of  the  section  of 
'  Haute  Normandie.'  He  held  successively  the 
offices  of  secretary-general  of  Museums,  assistant 
director,  and.  from  1841  to  1845,  director-general  of 
fine  arts.     He  died  in  1876. 

CAIMI,  Antonio,  was  born  at  Sondrio  in  1814, 
and  was  chiefly  engaged  as  a  portrait  painter,  but 
also  executed  pictures  of  'The  Beheading  of  St. 
John  the  Baptist,'  '  The  Return  from  Babylon,'  &c. 
He  wrote  a  work  on  '  The  Arts  of  Design,  and  the 
Lombardian  Artists  from  1777  to  1862'  (Milan, 
1862).  He  was  secretary  of  the  Academy  at  Milan 
from  1800  until  his  death  in  1878. 

CAIRO,  Ferdinando,  was  born  at  Casalmon- 
ferrato  in  1666,  and  learned  the  first  rudiments  of 
design  from  his  father,  an  unknown  artist.  He 
was  afterwards  placed  under  the  tuition  of  Marc 
Antonio  Francesohini  at  Bologna.  He  painted 
history,  and,  in  conjunction  with  Giacinto  Garofa- 
lino,  was  employed  to  paint  the  ceiling  of  the  church 

225 


A  BIOGRAPHICAL  DICTIONARY  OF 


of  Sant'  Antonio  at  Brescia,  which  is  favourably 
spoken  of  by  Averoldi.  He  died  at  Genoa,  accord- 
ing to  Zani,  in  1748.  He  had  an  elder  brother, 
GllTSEppE,  or  Gdglielmo,  who  was  bom  in  1656,  and 
died  in  1682. 

CAIRO,  Cavaliere  Fbancesco,  (called  '  II  Cava- 
liere  del  Cairo,')  was  born  in  the  territory  of  Varese, 
in  the  Milanese,  in  1598.  He  was  a  disciple  of  Pier 
Francesco  Mazzuchelli,  and  if  he  did  not  equal  his 
instructor  in  force  and  vigour,  he  surpassed  him  in 
the  elegance  of  his  design  and  the  effective  charac- 
ter of  his  colouring.  After  quitting  Mazzuchelli 
he  had  the  advantage  of  studying  the  works  of 
the  great  masters  at  Rome  and  Venice,  to  which 
fact  he  owed  the  superiority  above  alluded  to. 
The  charm  of  the  colouring  of  the  Venetian  school 
induced  him  to  study  more  especially  the  works  of 
Titian  and  Paolo  Veronese,  and  he  adopted  an 
admirable  style,  which  appears  to  have  been  formed 
on  a  mixture  of  both.  He  was  invited  to  the  Court 
of  Victor  Amadeus,  Duke  of  Savoy,  where  he  painted 
some  historical  works,  and  many  portraits,  which, 
according  to  Lanzi,  were  entirely  Titianesque.  He 
received  at  Turin  the  order  of  SS.  Lazarus  and 
Maurice  in  recognition  of  his  merit.  There  are 
several  of  his  works  in  the  churches  of  Milan  and 
Turin ;  one  of  his  best  pictures  is  '  St.  Theresa,' 
in  San  Carlo  at  Venice.  He  died  at  Milan  in  1674. 
His  portrait  by  himself  is  in  the  Uffizi,  Florence ; 
in  the  Dresden  Gallery  is  a  '  Venus  and  Apollo,'  by 
him,  and  in  the  Belvedere,  Vienna,  a  portrait. 
CAISNE,  Henri  de.  See  De  Caisne. 
CAISSER,  Henri  de,  was  a  French  engraver, 
who,  according  to  Florent  Le  Comte,  engraved 
several  plates  representing  funeral  processions, 
monuments,  &c. 

CALABRESE,  II.  See  Preti. 
CALABRESE,  Marco.  See  Cardisco. 
CALABRIA,  Pedro  de,  a  Neapolitan  painter, 
was  a  scholar  of  Luca  Giordano,  and  an  imitator  of 
that  master,  whom  he  accompanied  to  Spain  and 
assisted  in  his  works  at  Madrid.  He  painted  battle- 
pieces  with  spirit,  and  was  in  the  full  exercise  of 
his  talent  from  1712  to  1725.  'UTien  or  where  he 
was  born  or  died  is  not  recorded. 

CALAMATTA,  LuiGl,  an  Italian  engraver,  was 
born  at  Civita  Vecchia  in  1802.  He  studied  draw- 
ing at  Rome  vmder  Giangiacomo,  took  his  early 
lessons  in  engraving  from  Marchetri,  and  executed 
his  first  plate  under  the  eye  of  Ricciani.  He  went 
to  Paris  in  1822,  and  became  a  follower  of  Ingres, 
whose  style  he  copied  in  his  engraving  of  '  The  Vow 
of  Louis  XIII.'  He  made  his  first  appearance  at  the 
Salon  of  1827,  with  an  engraving  of  '  Bajazet  and 
the  Shepherd,'  after  Dedreux-Dorcy.  He  next 
produced  the  '  Mask  of  Napoleon,'  from  the  cast 
taken  by  Dr.  Antommarchi  at  St.  Helena  in  18.14, 
grouping  around  it  a  symbolic  gathering,  embracing 
portraits,  chiefly  from  Ingres'  drawings,  of  Mrae. 
Dudevant,  Paganini,  Martin,  and  Duclos.  He  visited 
Florence  in  1836,  and  the  following  year  saw  him 
installed  as  professor  at  Brussels,  a  post  which  he 
eventually  exchanged  for  a  similar  one  at  Milan, 
where  he  died  in  1869.  His  wife  was  also  an 
artist,  and  produced  an  excellent  portrait  of  her 
father,  the  archseologist  Raoul  Rochette,  as  well  as 
'The  Virgin'  (1842),  '  Eudora  and  Cymadaceus' 
(1844),  'St.  Cecilia'  (1846),  'Eve'  (1848),  'St.  Vero- 
nica'(1851),  and  several  other  works  remarkable 
for  distinctness  and  firmness  of  design  combined 
with  delicacy  and  softness  of  treatment.  The 
following  is  a  list  of  Calamatta's  principal  works  : 
226 


Mona  lisa ;  after  Leonardo  da  VtTtei.    1837. 

Madonna  di  Foligno ;  after  Raphael 

The  Vision  of  Ezekiel ;  after  the  same.    1855. 

Madonna  della  Sedia ;  after  the  same. 

Peace ;  after  the  same.    1855. 

0\a  Lord  walking  on  the  Sea ;  after  Cigoli 

Franceses  da  Bimini ;  after  Scheffer, 

The  Duke  of  Orleans ;  after  Ingres 

Count  Mole  ;  after  the  same.     1855 

Mdlle.  Boimard ;  after  the  same. 

The  Vow  of  Louis "XIII.;  after  the  same. 

Guizot ;  after  Delaroche. 

Portrait  oif  an  Actor  ;  after  Deveria. 

Portrait  of  Miss  Leverd ;  after  the  same. 

Portrait  of  Lamennais  ;  after  Ary  Scheffer. 

Beatrice  Cenci,  partly  etched ;  after  Guido  Rem.    1857. 

Recollections  of  Home,  partly  etched ;  after  Stecem 

Portrait  of  the  King  of  Spain ;  after  31.  Madrazo. 

Portraits  of  Rubens,  Georges  Sand,  and  Ingres. 

CALAME,  Alexandre,  was  a  landscape  painter, 
bom  at  Vevay,  Switzerland,  in  1810.  His  father 
was  a  poor  stone-cutter,  and  after  his  death, 
Calame  went  to  Geneva,  and  was  apprenticed  to 
a  tradesman  of  that  city ;  but  in  1830  he  entered 
the  studio  of  Diday,  where  he  made  rapid  pro- 
gress, and  eventually  succeeded  him  in  the  head- 
mastership  of  the  school.  He  exhibited  a  '  Forest 
Scene  near  Avranches '  in  the  Exhibition  at  Ham- 
burg in  1837,  which  made  a  great  sensation ;  and 
his  '  Waterfall  at  Handeck '  was  considered  by 
some  to  be  the  masterpiece  of  the  Paris  Salon  of 
1839.  He  visited  Germany  and  Holland  in  1839, 
England  in  1840,  and  Italy  in  1845.  His  best 
works  painted  between  the  years  1838  and  1844 
are  views  of  '  Mont  Blanc,'  '  The  Jungfrau,'  '  The 
Lake  of  Brienz,'  '  The  Bernese  Oberland,'  and 
'Monte  Rosa.'  Amongst  his  most  characteristic 
productions  are  'The  Four  Seasons'  and  'The 
Four  Hours  of  the  Day,'  which  are  landscapes  full 
of  vigorous  treatment  and  splendid  colour.  In 
1855  he  exhibited  at  the  Universal  Exhibition  his 
'  Lake  of  the  Four  Cantons.'  Calame  was  also 
a  lithographer  and  engraver,  and  his  numerous 
plates  show  much  skill  and  correct  taste.  The 
best  known  are  the  eighteen  '  Views  of  Lauter- 
brunnen  and  Meyringen,'  and '  Twenty- Four  Alpine 
Landscapes.'  In  1863  he  went  to  Mentone  for 
his  health,  and  died  there  in  the  spring  of  1864. 
There  are  paintings  by  him  at  the  Palace  of 
Rosenstein,  belonging  to  the  King  of  Wiirtemberg, 


Basle. 
Berlin. 


Museum. 
Gallery. 


Berne.  Gallery. 

Frai.kfort    StMel. 


Geneva. 
Leipsic. 

London. 


Museum. 
Museum. 
S.  Kensiny' 
ton. 


NeuchateL    Museum. 


The  'Wetterhom  and  Schreckhom. 

The  Lake  of  Lucerne.     1853. 

A  Mountain  Ravine.     1855. 

Cascade  at  Meyringen. 

View  near  Handeck. 

Swiss  View. 

Swiss  View. 

Forest  at  Handeck. 

Storm  in  the  Forest. 
)The  Lake   of   the  Four   Cantons 
I     (Lucerne). 

Chain  of  Mont  Blanc  (water-colour). 

Monte  Rosa 


CALANDRA,  Giovanni  Battista,  was  one  of 
the  earliest  of  the  mosaicists  who  wrought  in  the 
Vatican,  and  was  bom  at  Vercelli  in  1568.  In  the 
pontificate  of  Urban  VIII.,  it  was  found  that  the 
dampness  of  St.  Peter's  had  materially  affected  the 
paintings,  and  it  wag  determined  to  remove  the 
principal  pictures,  and  to  replace  them  with  copies 
in  mosaic,  of  which  the  first  was  executed  by 
Calandra,  after  the  '  St.  Michael '  of  Cesari  d'Arpino. 
With  this  were  '  The  Four  Doctors  of  the  Church,' 


PAINTERS  AND  ENGRAVERS. 


'  St.  Peter,'  '  St.  Paul,'  and  others  in  the  cupolas, 
after  the  cartoons  of  D'Arpino,  Romanelli,  Lan- 
franco,  Sacchi,  and  Pellegrini.  The  mosaic  art  was 
afterwards  carried  to  a  much  higher  degree  of  per- 
fection by  the  Cristofori.  He  also  executed  a 
'  Madonna '  after  Raphael  for  the  Queen  of  Sweden. 
He  died  in  1644  or  1648. 

CALANDRUCCI,  Giacinto,  was  born  at  Pa- 
lermo in  1646.  He  went  early  in  life  to  Rome, 
where  he  became  the  favourite  pupil  of  Carlo 
Maratti.  After  giving  the  most  promising  essay  of 
his  abilities  in  that  city,  in  his  two  pictures  of  '  St. 
John  the  Baptist,'  in  Sant'  Antonio  de'  Portoghesi, 
and  '  St.  Ann,'  in  San  Paolino  della  Regola,  he  re- 
turned to  Palermo,  where  he  painted  his  most  con- 
siderable work  for  the  church  of  San  Salvatore, 
representing  '  The  Virgin,  with  St.  Basil  and  other 
Saints,'  which,  according  to  Lanzi,  was  not  sur- 
passed by  many  pictures  of  the  time.  He  died  at 
Palermo  in  1707.  His  brother  Domenico  and  his 
nephew  Giambattista  were  likewise  painters,  but 
neither  achieved  any  great  reputation. 

CALAD,  Benjamin,  was  a  painter  born  at 
Friedrichstadt  in  1724,  whose  work  consisted 
chiefly  of  heads  or  portraits.  He  painted  usually 
in  dark  tones,  using  as  his  mediiun  Carthaginian 
wax  {dre  eleodorique),  which  the  ancients  made 
use  of  instead  of  oil  for  painting.  This  inven- 
tion of  Calau's  was  in  fact  an  attempt  at  repro- 
ducing the  process  described  by  Pliny.  Further 
information  on  this  subject  may  be  found  in  a 
work  entitled  'Traite  sur  la  Peinture  des  Anciens,' 
by  A.  Riem,  published  at  Berlin  in  1787.  Calau 
held  for  many  years  the  post  of  Court  painter  at 
Leipsic.  The  Brunswick  Gallery  possesses  two 
portraits  by  him,  and  the  Berlin  Art  Gallery  some 
of  his  work  in  wax.  He  went  to  Berlin  in  1771, 
and  died  there  in  1783. 

CALCIA,  Giuseppe,  called  II  Genove.sino,  was 
a  Piedraontese  artist,  who  from  his  appellation  has 
been  often  confounded  with  Marco  Genovesini,  a 
Milanese.  Giuseppe  painted  altar-pieces  for  the 
churches  of  Turin  and  Alessandria.  In  the  church 
of  the  Dominicans  at  Turin,  are  pictures  of  '  St. 
Doniinick  '  and  '  St.  Thomas  Aquinas  '  by  this  artist. 
He  is  much  distinguished  by  his  cabinet  historical 
and  sacred  subjects,  which  are  gracefully  designed 
and  well  coloured;  one,  representing  'Christ  in  the 
Garden  of  Gfthsemane,'  now  in  the  collection  of  the 
Marchese  AmbroKio  Ghiliin,  is  particularly  noticed 
by  Lmzi.      He  flourished  about  thtj  year  1725. 

CALCKER,  Jan  Joost  van,  who  was  born  at 
Calcker  nbout  1460,  studied  firt^t  in  his  native 
town,  and  tlien  at  Haarlem.  In  1505-8  he 
painted  scenes  from  the  Life  of  Christ  on  the 
wings  of  the  high  altar  in  the  church  of  the  Virgin 
at  Calcker;  and  in  1515  he  executed  a  figure  of 
St.  Willebrod  for  St.  Baron  at  Haarlem.  Works 
ascribed  to  him  are  at  Wesel  and  Rees.  He  died 
m  1519. 

CALCKER,  Jan  Stephanus  van,  was  bom  at 
Calcker,  in  Cleve,  about  1499,  and  worked  first  at 
Dordrecht,  and  afterwards,  1636-37,  at  Venice.  In 
the  latter  city  he  entered  the  school  of  Titian,  and 
acquired  the  faculty  of  imitating  that  master  to  a 
high  degree  of  exactness,  especially  in  his  por- 
traits. Subsequently  he  became  an  equally  sur- 
prising imitator  of  Raphael.  He  drew  the  illus- 
trations for  Vesalius's  work  on  anatomy,  and  is 
said  to  have  drawn  the  portraits  of  the  artists  in 
Vasari's  Lives.  He  died  at  Naples  in  1546.  The 
following  paintings  are  ascribed  to  him  : 
Q  2 


Berlin.  Gallery, 

Paris.  Louvre. 

Prague.  Gallery. 

Vienna.  Gallery. 


Portrait  of  a  Man.  1535 
Portrait  of  a  Young  Man. 
The  Nativity  i,once  the  property  of 

Rxibens). 
Portrait  of  a  Man. 


CALDARA,  PoLiDOBO,  called  Polidoro  da  Cara- 
VAQGIO,  a  painter  who  may  be  considered  as  be- 
longing to  the  Roman  school,  was  born  at  Cara- 
vaggio  in  the  Milanese  in  1492  (?).     His  parents 
lived  in  the  greatest  indigence  and  obscurity,  and 
after  passing  his  youth  in  misery  and  want,  he 
was  obliged  to  leave  home  in  search  of  employment, 
and  on  his  arrival  at  Rome  was  engaged  by  the 
artists  employed  in  the  Vatican  by  Leo  X.,  to  carry 
the  mortar  for  the  plaster  of  their  fresco  paintings. 
Whilst  he  was  occupied  in  this  humble  station  he 
observed  with  great  attention  with  what  facility 
Maturino  and   Giovanni   da  Udine   executed   the 
designs  of  Raphael  ;  and,  inspired  by  his  natural 
disposition  for  art,  he  made  some  attempts,  which 
attracted  the  notice  of  Raphael,  of  whom  he  after- 
wards became  one  of  the  most  illustrious  disciples. 
His  assiduous  application  in  studying  the  ancient 
statues  and  bas-reliefs  was  such,  that  in  a  little 
time  he  appeared  to  have  imbibed  the  true  spirit  of 
the  Grecian  sculptors.     Finally  he  was  selected  by 
Raphael  to  paint  the  friezes  which  accompanied 
his  works  in  the  apartments  of  the  Vatican  ;  and 
they  were  in  no  way  unworthy  of  being  placed 
with    the     sublime    productions     of    that    great 
master.      It   was   the    custom    at    Rome,    in    the 
time  of  Polidoro,  to  ornament  the  exterior  of  the 
principal  houses  and  palaces  with  the  works  of 
eminent  artists,  executed  in  a  style  called  by  the 
Italians  sgrafitto,  expressed  by  hatchings  on  the 
plaster,  in  the  manner  of  engraving.     In  works  of 
that  nature  Polidoro  and  his  friend  Maturino  were 
much  employed  ;  and  it  is  greatly  to  be  regretted 
that   exposure  to   the   weather   and   the   ravages 
of  time  have  deprived  the  world  of  these  valuable 
productions,  of  whose  beauty  we  may  form  some 
judgment  from  the  prints  which   have  been  en- 
graved from  some  of  them  by  Cherubino  Alberti, 
Heinrich    Goltzius,  and  Giovanni   Battista  Gales- 
truzzi.     Polidoro  was  at  the  height  of  his  success 
and  popularity  when  Rome  was  taken  by  storm,  and 
sacked  by  the  Spaniards,  in  1527.     He  took  refuge 
at  Naples,  where  he  was  most  kindly  received  by 
Andrea   da   Salerno,   whose  acquaintance  he  had 
made  at  Rome,  and  who  was  the  means  of  pro- 
curing   him    immediate    employment.      He   soon 
opened  a  school  there,  and  more  particularly  de- 
voted himself  to  the  fresco  decorations  of  walls 
and  ceilings.     After  passing  some  time  at  Naples, 
he  went  over  to  Sicily,  where  his  first  employment 
was   painting  the   triumDhal   arches  which   were 
erected  at  Messina  on  the  occasion  of  Charles  V.'s 
return  from  his  expedition  to  Tunis.     His  next 
work  was  his  celebrated  picture  of  '  Christ  bearing 
the  Cross,'  a  grand  composition  of  many  figures, 
painted  in   oil  with   a  beauty   and    harmony  of 
colouring  which  proved  that  he  was  also  capable 
of  distinguishing  himself  in  that  branch  of   art. 
The  story  runs  that,  Rome  being  restored  to  tran- 
quillity, he  was  desirous  of  returning  thither,  and 
that,  preparatory  to  his  departure  from  Sicily,  he 
drew  from  the  bank  his  money,  tempted  by  which 
his  Sicilian  servant,  Tonno,  murdered  him  at  Messina 
in   1543.      The  principal   works   of    Polidoro  da 
Caravaggio  are — his  friezes  and  other  ornaments 
in  the  Vatican  ;   in  the  garden  of  the  Palazzo  del 
Biifalo  at  Rome,  the  '  Fountain  of  Parnassus  ; '  and 

227 


A  BIOGRAPHICAL  DICTIONARY  OF 


in  the  court  of  the  same  palace  his  '  History  of 
ICiobe,'  (a  sketch  for  which  is  in  the  Palazzo 
Corsini,)  and  some  grand  compositions  of  naval 
combats  ;  in  San  Silvestro  a  Monte  Cavallo,  two 
subjects  from  the  life  of  St.  Mary  Magdalene, 
with  a  very  beautiful  landscape  ;  at  Naples  '  St. 
Peter  '  and  '  St.  Paul,'  in  the  church  of  Santa  Maria 
della  Grazie,  and  several  pictures  in  Sant'  Angelo, 
in  Pascheria.  The  following  of  his  productions 
may  still  be  seen  as  under : 
Milan.      Brera.  Passage  of  the  Eed  Sea. 

Naples.    Museum,  Christ  bearing  the  Cross.     153-1. 

Paris.        Louvre.  Psyche  received  into  Olympus. 

Kome.      Capitol.  Mus.  Meleager. 
Vienna.    Gallery.        Cephalus  and  Procris. 

CALDECOTT,  Randolph,  was  the  son  of  an 
accountant  at  Chester,  and  was  born  in  that  city, 
March  22,  1846.  He  was  educated  at  the  King's 
School,  Chester,  and  in  his  boyish  days  seems  to 
have  shown  the  bent  of  his  genius  in  drawings, 
sketches,  and  models  of  animals  cut  in  wood.  At 
the  age  of  fifteen  he  became  a  clerk  in  the 
Whitchurch  Bank,  Shropshire,  living  in  an  old 
farm-house  near  the  town,  and  in  this  country 
atmosphere  gathered  up  a  store  of  impressions  at 
such  scenes  as  meets,  fairs,  and  markets,  that  later 
yielded  rich  fruit.  He  remained  at  Whitchurch 
for  six  years,  and  was  then  transferred  to  the 
Manchester  and  Salford  Bank  at  Manchester, 
where  he  worked  steadily  at  his  duties  for  five 
years,  meanwhile  devoting  all  his  spare  time  to 
evening  studies  in  the  Manchester  Art  School,  and 
in  summer  weather  to  open-air  sketching.  In  1868 
his  first  published  drawings  appeared  in  a  local 
paper  called  'Will  o'  the  Wisp,'  to  be  followed  the 
next  year  by  some  contributions  to  another  paper, 
'The  Sphinx.'  At  the  same  time  he  was  painting 
a  little  for  friends,  chiefly  hunting  subjects,  and 
in  1869  he  exhibited  a  picture  at  the  Manchester 
Royal  Institution.  His  artistic  gifts  now  appeared 
so  unquestionable,  that  in  1870,  acting  on  the  advice 
of  some  friends,  he  went  to  London  with  a  letter 
of  introduction  to  Mr.  Thomas  Armstrong  of  the 
South  Kensington  Museum,  who  throughout  his 
career  consistently  befriended  him.  Some  drawings 
of  Caldecott's  were  submitted  to  Shirley  Brooks,  and 
to  Mark  Lemon,  then  editor  of  '  Punch,'  also  to  Mr. 
Henry  Blackburn,  who  was  on  the  staff  of  '  London 
Society,'  with  the  result  that  the  young  man 
became  one  of  the  regular  contributors  to  that 
journal.  His  water-colours  and  small  oil-pictures 
alsobegan  to  have  a  widersale,  and  thus  encouraged, 
he  determined  to  give  up  his  situation  in  the  bank, 
and  to  devote  himself  to  art.  He  came  to  London 
early  in  1872,  and  worked  for  a  time  in  the  life 
dasB  of  the  Slade  School,  under  Mr.  Poynter. 
In  June  of  the  same  year  his  first  drawing  for 
'  Punch  '  was  published.  It  was  the  beginning  of 
a  long  series  of  work  for  London  illustrated  papers 
such  as  the  '  Graphic,'  the  '  Pictorial  World,'  and 
the  American  '  Daily  Graphic'  In  the  illustration 
of  books,  Caldecott  made  his  first  essay  in  August 
1872,  when  he  accompanied  Mr.  Blackburn  to  the 
Harz  district,  and  executed  a  number  of  whimsical 
drawings  for  a  book  of  summer  travels  by  the 
latter,  'The  Harz  Mountains,  a  Tour  in  the  Toy 
Country.'  In  1873  he  went  to  the  Vienna  Exhibition, 
to  make  drawings  for  the  '  Daily  Graphic'  Later 
in  the  year  he  worked  in  M.  Jules  Dalou's  studio  at 
Chelsea,  the  sculptor  having  made  a  compact  with 
Caldecott,  who  was  to  teach  him  English,  while 
he  helped  the  novice  with  the  clay.  In  1876 
228 


Caldecott  exhibited  an  oil  picture  at  the  Royal 
Academy,  'There  were  Tree  Ravens  sat  on  a 
Tree,'  and  a  metal  bas-relief,  '  Horse  Fair  in 
Brittany  ' ;  but  towards  the  close  of  the  year  he 
began  to  show  symptoms  of  failing  health,  and 
was  obliged  to  winter  in  the  South,  whence  he 
brought  home  innumerable  sketches,  and  there 
he  made  the  drawings  illustrating  Mrs.  Comyns 
Carr's  'North  Italian  Folk.'  In  1878  he  agreed 
with  Mr.  Edmund  Evans  to  illustrate  some  books 
for  children,  to  be  printed  in  colour.  Of  these 
the  following  is  a  complete  list,  with  dates  of 
publication :  '  The  House  that  Jack  Built '  and 
'John  Gilpin'  (1878),  'Elegy  on  a  Mad  Dog' 
and  'Babes  in  the  Wood'  (1879),  'Three  Jovial 
Huntsmen '  and '  Sing  a  Song  of  Sixpence  '  (1880), 
'Queen  of  Hearts'  and  'Farmer's  Boy'  (1881), 
'The  Milkmaid'  and  '  Hey-diddle-diddle '  (1882), 
'  The  Fox  jumps  over  the  Parson's  Gate '  and 
'A  Frog  he  would  a-wooing  go'  (1883),  'Come, 
Lasses  and  Lads '  and  '  Ride  a  Cock  Horse  to 
Banbury  Cross'  (1884), 'Mrs. Mary  Blaize  '  and  'The 
Great  Panjandrum'  (1885).  Of  books  illustrated 
in  black  and  white  we  may  mention  Washington 
Irving's  '  Old  Christmas '  (1875),  and  '  Bracebridge 
Hair  (1876),  '-ffisop's  Fables  with  Modern  In- 
stances' (1883);  also  illustrations  for  several  of 
Mrs.  Swing's  books,  notably  'Jackanapes'  and 
'  Lob-lie-by-the-Fire.'  Various  tours  in  Brittany 
in  company  with  Mr.  Henry  Blackburn  were  com- 
memorated by  drawings  and  terra-cotta  studies  of 
Breton  life.  For  many  years  Caldecott  suffered 
from  heart  complaint,  the  result  of  rheumatic  fever, 
and  in  the  winterof  1885-6  he  was  advised  to  winter 
in  Florida.  He  accordingly  sailed  with  his  wife 
for  the  United  States.  The  season,  unhappily, 
proved  abnormally  severe.  He  reached  St.  Augus- 
tine's, Florida,  but  only  to  die,  February  12,  1886. 
His  last  work  was  part  of  a  series  of  '  American 
Facts  and  Fancies  '  drawn  for  the  '  Daily  Graphic' 

CALDERARI,  Giovanni  Maria.     See  Zaffoni. 

CALDERON  DE  LA  BARCA,  Vicente,  a 
Spanish  painter,  who  was  born  at  Guadalaxara  in 
1762,  was  a  scholnr  of  Francisco  Goya,  and  distin- 
guished himself  as  a  painter  of  history  and  por- 
traits, particularly  the  latter,  in  which  he  excelled. 
His  best  historical  picture  is  the  '  Birth  of  St 
Norbert,'  in  one  of  the  colleges  at  Avila.  He  died 
in  1794. 

CALDERON,  Philip  Hermogenes,  was  bom  in 
1833.  His  father  was  Juan  Calderon,  Professor 
of  Spanish  Literature  at  King's  College,  and  his 
mother  was  a  French  lady.  He  was  educated  at 
Leigh's  School  ;  there  his  intimate  friends  were 
Stacey  Marks  and  Walter  Thornbury ;  and  after 
that  he  went  to  Paris  with  Marks  and  studied  a 
while  under  M.  Picot.  His  first  exhibited  picture 
was  hung  at  the  Royal  Academy  in  1853,  and 
illustrated  the  words,  '  By  the  waters  of  Baljylon 
there  we  sat  down.'  His  next  was  not  shown  till 
1855  and  was  also  of  a  religious  character,  illus- 
trating the  words,  '  Thy  will  be  done.'  Dp  to  that 
time  he  had  remained  uncertain  whether  art  was 
his  true  vocation  or  not,  and  whether  he  was  ever 
likely  to  make  a  mark  in  the  world,  but  his  third 
painting, '  Broken  Vows,'  was  not  only  well  received 
hut  well  hung,  sold  and  engraved,  and  it  also  won 
him  a  wife,  so  that  his  decision  on  that  score  was 
settled.  He  married  in  1859,  was  elected  A.RA. 
in  1864  at  the  same  time  as  Leighton,  and  became 
R.A.  in  1867,  and  Keeper  of  the  Academy  in  1887. 
He  died  in   April   189^      Other  notable  works 


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PAINTERS  AND  ENGBAVERS. 


which  he  painted  were,  ♦  After  the  Battle,'  '  Kath- 
erine  of  Aragon  and  her  Women  at  Work,'  '  John 
Hampden,'  '  Her  Most  High,  Noble,  and  Puissant 
Grace,'  'Home  after  Victory,'  'Whither,'  'The 
Olive,'  and  'The  Vine,'  and  other  decorative  works 
executed  for  Mr.  Aird.  None  of  his  pictures,  how- 
ever, attracted  so  much  attention  as  the  one  now 
called  '  Renunciation,'  and  which,  painted  in  1891, 
was  bought  by  the  Chantrey  Trustees  and  is  now 
at  the  Tate  Gallery.  At  first  it  bore  the  name  of 
J  St.  Elizabeth  of  Hungary,'  and  was  intended  to 
illustrate  an  episode  in  her  career,  and  the  in- 
accuracy of  the  historical  knowledge  displayed  by 
the  artist,  who  had  taken  his  idea  from  a  poem  by 
Kingsley,  aroused  a  vis^orous  discussion  in  the 
'Times.'  The  writer  of  this  article  approached  Mr. 
Calderon  many  years  afterwards  when  the  picture 
was  to  be  hung  in  the  Tate  Gallery,  and  he  met 
the  question  of  an  aggrieved  religious  sentiment 
which  was  concerned  with  the  title  in  the  frankest 
manner,  and  gladly  altered,  with  the  consent  of 
the  owners  of  the  picture,  the  title  to  the  one  which 
it  now  bears,  and  which  does  not  reflect  upon  the 
character  of  the  saint,  and  makes  the  picture  depict 
merely  an  imaginary  scene.  G.  C.  W. 

CALDWALL,  James,  an  English  designer  and 
engraver,  was  born  in  London  in  1739.  He  was 
instructed  by  Sherwin,  and  became  an  excellent 
draughtsman.  His  work  is  characterized  by  a 
brilliant  technique,  a  feature  especially  remarkable 
in  his  portraits.  By  the  dates  on  his  prints  he  is 
known  to  have  lived  till  1789.  Amongst  his  best 
productions  are  the  following  : 

POBTRAITS. 
Sir  Henry  Oxenden,  Bart. 
Catharine,  Countess  of  Suffolk. 

Sir  John  Glynne,  Chief  Justice  of  the  King's  Bench. 
Sir  Roger  Curtis ;  after  W.  Hamilton. 
Admiral  Keppel. 
John  Gillies,  LL.D.,  historian. 
David  Hume,  historian. 

Mrs.  Siddons  and  her  Son,  in  the  charactcT  of  Isabella, 
after  W.  Hamilton.     1783. 

VARIOUS   SUBJECTS. 
The  Immortality  of  Garrick ;  after  Carter,  the  figures 

engraved  by  Caldwall,  and  the  landscape  by  S.  Hviitk 

1783. 
The  Fete  OhampStre  given  by  the  Earl  of  Derby  at  the 

Oaks;    after  E.  Adams,  engraved  by    Catdwall  and 

Grignion. 
The  Camp  at  Coxheath ;  after  W.  Hamilton.    1778. 

His  brother,  John  Caldwall,  who  died  in  1819, 
painted  miniatures  in  Scotland. 

CALENSE,  Cesarb,  according  to  Dominici,  was 
a  native  of  the  province  of  Leece,  in  the  kingdom 
of  Naples,  and  flourished  about  1690.  It  is  not 
said  by  whom  he  was  instructed,  but  he  achieved 
some  reputation  by  a  graceful  manner,  united  with 
correct  drawing  and  a  knowledge  of  chiaroscuro. 
Ill  the  church  of  St.  John  the  Baptist  at  Naples  is 
a  fine  picture  by  this  master  of  the  '  Descent  from 
the  Cross,'  with  the  Marys,  St.  John,  and  other 
figures,  full  of  feeling  and  expression,  and  signed 
with  his  name. 

CALETTI,  Giuseppe,  called  II  Ceemonese, 
was  a  painter  born  at  Ferrara  about  the  year  1600. 
He  first  applied  himself  to  study  the  works  of 
Dosso  Dossi,  but  he  afterwards  became  an  imi- 
tator of  Titian,  particularly  in  his  Bacchanalian 
subjects.  In  these  specimens  of  Caletti's  art  the 
figures  are  generally  smaller  than  life.  He  ap- 
proached so  near  to  the  glowing  tones  of  that 


masi-er,  that  Baruffaldi  reports  that  he  had  seen 
many  of  his  pictures  in  the  galleries  of  the  nobility 
at  Bologna  which  were  believed  to  be  the  works  of 
Titian,  and  he  is  said  to  have  been  able  to  counter- 
feit a  certain  patina  which  time  gives  to  painting, 
and  which  improves  its  harmony.  His  deceptions 
were,  however,  frequently  discovered  by  his  inat- 
tention to  costume,  and  the  introduction  of  the 
most  absurd  improbabilities.  In  the  midst  of  his 
Bacchanalian  subjects  it  was  not  unusual  for  him 
to  introduce  a  modern  gambol,  or  a  hunting  inci- 
dent ;  and,  as  it  is  sarcastically  observed  by  Lanzi, 
"  he  placed  wild  boars  in  the  sea,  and  dolphins  in 
the  forests."  He  has,  however,  proved  himself  to 
have  been  capable  of  nobler  ideas  by  his  picture  of 
the  '  Four  Doctors  of  the  Church,'  and  his  still  more 
admired  production  of  the  '  Miracle  of  St.  Mark,' 
both  in  the  church  of  San  Benedetto  at  Ferrara. 
This  last-mentioned  work  is  described  as  designed 
with  correctness  and  grandeur,  and  full  of  fine  ex- 
pression. His  death  occurred  about  1660.  He  is 
known  also  as  the  engraver  of  some  twenty-four 
plates  now  scarce.  They  are  characterized  by  a 
peculiar  manner  of  treatment,  consisting  of  the 
employment  of  bold  parallel  strokes  without  any 
cross-hatching.  Some  of  them  are  marked  with 
the  letters  J.  G.  F.  Amongst  the  more  important 
of  them  may  be  mentioned : 

David,  whole-length,  with  the  head  of  Goliath. 

David,  half-length,  with  the  same, 

Samson  and  Delilah  ;  very  fine. 

The  Beheading  of  St.  John. 

St.  Roch  kneeling. 

Portraits  of  the  Dukes  of  Ferrara. 

CALIARI,  Benedetto,  was  the  brother  of  Paolo 
Veronese,  and  assistant  to  him  in  painting.  After 
Paolo's  death,  he,  in  conjunction  with  his  two 
nephews,  Gabriele  and  Carletto,  carried  on  a  sort 
of  firm  for  the  sale  of  pictures  from  Veronese's 
designs,  or  in  his  style.  Many  works  attributed 
to  him  were  doubtless  executed  by  them.  They 
signed  collectively  as  'Paolo's  heirs.'  Benedetto 
died  in  1598. 

CALIARI,  Carletto,  the  youngest  son  of  Paolo 
Veronese,  was  born  in  1570,  and  died  in  1596.  He 
was  educated  by  his  fatlier  as  a  painter,  and  showed 
great  ability ;  but  dying  at  the  early  age  of  26, 
his  powers  had  not  full  time  for  development. 
His  name  is  attached  to  several  large  pictures  of 
banquets  in  Veronese's  style. 

CALIARI,  Gabriele,  the  eldest  son  of  Paolo 
Veronese,  was  bom  in  1568,  and  died  of  the 
plague  in  1631.  He  painted  a  few  pictures,  but 
had  not  the  same  talent  as  his  younger  brother, 
and  devoted  himself  chiefly  to  commerce. 

CALIARI,  Paolo,  (or  Cagliari,)  commonly 
called  Paolo  Veronese,  was  born  (as  his  cognomen 
indicates)  at  Verona  in  1528.  He  was  the  son 
of|a  sculptor  named  Gabriele  Caliari,  and  was  at 
first  educated  by  his  father  in  his  own  branch 
of  art.  Paolo's  taste,  however,  led  him  more 
towards  painting,  and  his  father,  seeing  this, 
sent  him  to  study  in  the  workshop  of  Antonio 
Badile,  a  Veronese  painter  of  some  reputation, 
by  whom  several  authentic  works  still  remain. 
The  school  of  Verona  had,  even  in  the  15th  cen- 
tury, risen  into  notice,  and  at  the  beginning  of  the 
16th  it  included  many  masters  of  note.  In  Caliari 
the  school  may  be  said  tj  have  culminated  and 
ended.  Among  Paolo's  earliest  works  may  be  men- 
tioned a '  Madonna  and  Child  with  Saints  and  donor,' 
now  in  the  Gallery  at  Verona;   a  'St.  Anthony' 

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A  BIOGRAPHICAL  DICTIONARY  OF 


in  the  Cathedral  at  Mantua,  since  disappeared  ;  and 
some  wall-paintings  in  the  Casa  Contarini.  After 
executing  these  and  several  other  works  in  his 
native  tovm,  he  went  to  Castelfranco,  where  he  re- 
ceived a  commission  to  decorate  the  Villa  Soranzo 
with  large  frescoes.  He  took  with  him  as  assistant 
to  Castelfranco  Giovan  Battista  Zelotti,  who  was 
at  that  time  a  youth  of  nineteen,  and  who  worked 
for  some  time  with  Paolo,  decorating  not  only 
Soranzo,  but  another  splendid  Villa — Fanzolo — and 
executing  several  works  in  the  church  of  San 
Liberale.  Many  of  these  works  still  remain,  and 
testify  to  the  early,  or,  as  it  may  be  called,  the 
Veronese,  manner  of  Paolo,  formed  chiefly  on  that 
of  his  master  Badile  and  that  of  Paolo  Morando. 

Many  of  Paolo's  peculiar  characteristics  had, 
however,  manifested  themselves,  and  he  was  al- 
ready a  painter  of  note  and  achievement  before  he 
was  called  to  Venice  in  1555.  His  first  works  in 
Venice  were  for  the  church  of  San  Sebastiano. 
Here  after  painting  the  ceiling  of  the  Sacristy,  he 
was  commissioned  to  undertake  the  ceiling  of  the 
church  itself,  which  he  decorated  with  gorgeous 
scenes  from  the  history  of  Esther.  These  were  so 
much  admired  that  the  prior  further  employed  him 
to  paint  a  beautiful  altarpiece  of  the  Madonna  in 
Glory  and  several  smaller  works. 

The  stimulus  given  to  Paolo's  art  by  thus  being 
brought  in  rivalry  with  the  great  masters  of  Venice 
was  just  what  was  needed  for  the  development  of 
his  style.  His  colour  became  warmer  and  more 
harmonious,  and  his  forms  more  full  of  life  and 
motion.  In  some  historical  paintings  executed  in 
the  castle  of  Tiene  near  Vicenza,  his  richness  of 
colour  and  grandeur  of  composition  are  fully  evi- 
dent. He  does  not  appear  at  first,  however,  to  have 
attracted  much  remark  at  Venice,  and  it  was  not 
until  the  patriarch  Titian  in  1561  selected  him,  ^vith 
several  of  the  younger  painters  of  the  time,  as 
suitable  to  be  entrusted  with  the  decoration  of  the 
great  hall  of  the  library  lately  built  by  Sansovino, 
that  his  po\\-ers  were  properly  recognised.  Here 
Paolo  painted  three  allegorical  medallions,  repre- 
senting '  Music,'  '  Mathematics,'  and  '  Fame,'  and 
carried  ofE,  as  Vasari  relates,  the  prize  of  a  gold 
chain  that  had  been  promised  for  the  best  painting 
done  in  the  library.  After  this  he  worked  in  com- 
pany with  his  earlj'  assistant,  Zelotti,  who  had  also 
come  to  Venice,  in  several  of  the  halls  of  the  Ducal 
Palace,  covering  the  ceilings  and  walls  vrith  mag- 
nificent allegories. 

In  1562  he  received  the  commission  to  paint  for 
the  refectory  of  the  convent  of  S.  Giorgio  Maggiore 
the  celebrated  picture  of  the  '  Marriage  at  Cana,'now 
in  the  Louvre.  Every  one  knows  this  magnificent 
banqueting  scene,  and  has  formed  some  idea  from 
it  of  Paolo's  gorgeous  style  and  mode  of  concep- 
tion. Above  all  things  he  delighted  in  the  pomp 
and  splendour  of  earthly  pageantry,  the  vainglorj' 
of  mortal  man,  the  material  riches  and  beauty  of 
existence  ;  and  this  with  no  hint  that  such  things 
are  vanity,  no  belief  in  any  higher  life  than  that 
afforded  by  the  depraved  but  lovely  Venice  in  which 
he  dwelt.  It  seemed  to  him,  tlieref  ore,  no  anomaly 
to  introduce  Jesus  of  Nazareth  into  the  midst  of  a 
lavish,  tumultuous  banquet,  whereat  the  bride, 
Eleanor  of  Austria,  and  the  bridegroom,  Don 
Alfonso  d'Avalos,  are  supported  by  such  noted 
historical  characters  as  Francis  I.  of  France,  the 
Emperor  Charles  V.,  Queen  Mary  of  England,  and 
the  Sultan  Soliman  I.  The  musicians  also  are  all 
portraits  of  painters  of  the  time. 
230 


This  was  the  first  of  several  great  banqueting 
scenes  painted  by  Paolo,  among  which  may  be 
mentioned  '  The  Feast  of  the  Levite,'  in  the  Aca- 
demy at  Venice,  and  the  '  Supper  at  the  House  of 
Simon,'  in  the  Louvre.  Other  representations  of 
the  same  scene  are  to  be  found  at  the  Brera  at 
Milan,  the  Durazzo  Palace  at  Genoa,  and  the  Dres- 
den Gallery.  The  '  Supper  at  Emmaus '  was  like- 
wise a  favourite  subject  with  this  master.  In  the 
well-known  Louvre  example  the  painter  has  intro- 
duced himself  and  his  family  as  present  in  the 
solemn  scene.  Two  of  his  little  girls  play  with  a 
large  dog  in  the  foreground,  while  his  wife  holds  a 
baby  in  her  arms,  and  her  sons  play  near  her. 

About  1563  Paolo  was  again  employed  in  paint- 
ing in  the  church  of  San  Sebastiano.  Here  he  now 
represented,  in  two  magnificent  wall-paintings,  the 
martyrdom  of  the  Saint  to  whom  the  church  was 
dedicated,  and  '  SS.  Marcellus  and  Marcellinus  on 
the  way  to  Martyrdom.'  These  are  two  of  Paolo's 
finest  works,  full  of  movement,  beauty  of  colour, 
and  dramatic  effect.  Indeed,  the  whole  church  of 
San  Sebastiano  glows  with  his  work,  and  remains  a 
splendid  monument  of  his  masterly  power  and  skill. 
Another  celebrated  monument  is  the  Villa  Masiera, 
a  palace  built  by  Palladio  for  the  Venetian  patri- 
cians, Marcantonio  and  Daniele  Barbaro.  Paolo 
was  employed  to  decorate  this  magnificent  villa, 
and  achieved  his  task  in  the  most  gorgeous  man- 
ner, his  fancy  running  riot  amidst  gods  and  god- 
desses, loves  and  nymphs,  and  other  creations  of 
heathen  mythology  and  imaginative  sjTnbolism. 
Charles  Blanc  has  given  a  detailed  description  of 
the  Villa  Masiera  in  the  Gazette  des  Beaux  Arts, 
and  many  other  writers  have  testified  to  the  charm 
of  these  wonderful  works.  They  were  probably 
executed  about  1566,  for  Vasari  speaks  of  them  in 
the  second  edition  of  his  Lives,  published  in  1568. 
About  the  same  time,  probably,  Paolo  painted  on 
canvas  the  historical  picture  of  the  '  Family  of 
Darius,'  now  in  the  National  Gallery. 

It  is  possible  that  at  some  period  of  his  life 
Paolo  went  to  Rome,  and  saw  the  works  of 
Michelangelo  in  the  Sistina,  or  drawings  from 
them,  for  in  some  of  his  fresco  decorations  his 
st\le,  strange  to  say,  resembles  that  of  the  great 
Florentine  master.  But  Veronese  never  rose  to 
the  lofty  heights  of  the  ideal  that  Michelangelo 
trod  so  fearlessly.  He  aimed  at  magnificence  more 
than  sublimity,  and  surrounded  his  saints  and  holy 
persons  with  every  material  good,  as  if  to  com- 
pensate them  for  the  woes  they  had  endured  while 
on  earth.  His  fondness  for  banquets  is  amusingly 
illustrated  by  a  memorandum,  quoted  by  Ridolfi, 
from  the  back  of  one  of  his  drawings.  In  this  he 
declares  his  intention  of  representing,  when  he  has 
time,  '  a  sumptuous  repast  in  a  superb  gallery,  at 
which  the  Virgin,  the  Saviour,  and  St.  Joseph  shall 
be  present,  served  by  the  richest  cortege  of  angels 
that  it  is  possible  to  imagine,  who  shall  offer  them, 
on  plates  of  silver  and  gold,  the  most  exquisite 
viands  and  fruits.  Others  shall  be  occupied  in  pre- 
senting to  them,  in  transparent  crystal  and  gold 
cups,  precious  liqueurs,  to  show  the  zeal  with  which 
happy  spirits  serve  the  Lord.' 

Of  Paolo  Caliari's  domestic  life  little  is  known. 
He  married  a  daughter  of  his  master,  Antonio 
Badile,  and  had  several  children,  whom  he  has 
depicted  in  some  of  his  pictures.  His  eldest  son, 
Gabriele,  was  born  in  1568,  and  Carletto  in  1570. 
Both  brothers  adopted  their  father's  profession. 
I  but  Carletto  had  by  far  the  most  talent.     After  his 


PAINTERS  AND  ENGRAVERS. 


father's  death  he  executed  a  number  of  pictures 
from  Paolo's  designs,  and  in  his  manner.  Paolo's 
style  was  also  closely  copied  by  his  brother  Bene- 
detto Caliari,  by  his  early  companion  Zelotti,  and 
several  other  painters,  so  that  many  works  are  set 
down  to  him  which  are  merely  the  productions  of 
his  school. 

Paolo  does  not  appear  to  have  left  Venice  for 
any  long  period  after  he  had  once  settled  there. 
He  journeyed  to  Vicenza  and  a  few  other  places  in 
northern  Italy  occasionally  for  the  execution  of 
commissions  ;  but,  for  the  most  part,  all  his  great 
works  were  executed  in  Venice  and  for  Venice. 
It  is  said  he  was  invited  to  Spain  by  Philip  II.  to 
assist  in  the  decoration  of  the  Escorial,  but  he  de- 
clined the  invitation,  and  devoted  himself  wholly 
to  the  service  of  Venice. 

Paolo  Veronese  is  well  represented  in  the  National 
Gallery,  where  there  are  no  fewer  than  six  pictures, 
including  the  large  and  important,  butuninteresting, 
'  Family  of  Darius,'  painted  for  the  Pisani  family. 
The  'Vision  of  St.  Helena'  (No.  1041),  added  to 
the  collection  in  1878,  is  a  charming  example  of 
his  school.  There  is  a  noble  grace  and  poetry 
about  this  work  that  leads  one  to  regret  that 
festive  banquets  and  gorgeous  altar-pieces  had  so 
large  a  share  of  his  time. 

Paolo  Caliari  died  at  Venice,  April  19, 1588,  and 
was  buried  in  the  church  of  San  Sebastiano,  which 
he  had  adorned  with  so  many  splendid  works. 

PAINTINGS   ATTRIBOTED  TO  CALIARI. 

Verona.     Finacoteca.        Taking  down  from  the  Cross. 

„  ,,                  Portrait  of  P.  Guarianti. 

„  Ch .  ofS.  Giorgio.  Martyrdom  of  St.  George. 

„  Ch.  of  S.  Paolo.     Madonna  with  two  Saints. 

Venice. Acad. of  FineArts.Veast  of  the  Levite. 

,,  ,,               ,,        Crucifixion. 

„  „                 „        SS.  Matthew  and  Mark. 

„  „                 „         SS.  Luke  and  John. 

),  I,                »        Ezekiel. 

„  „                 „         Isaiah. 

„  „                „        Battle  of  Lepanto, 

„  „                 „        Annunciation. 

„  „                „         Assumption. 

„  „               „        Glorified    Madonna    with    St. 
Dominick. 

„  „                „         Madonna  with  Saints. 

,,  „                „         Coronation  of  the  Virgin. 

„  iJucal  Falace.     Kape  of  Europa. 

„  „                „         Allegories:    Music,  Mathemat- 
ics, and  Fame. 

„  „                ,,        Adoration  of  the  Magi. 

„  „                „         Venice  Enthroned. 

„  „                „         Battle  of  Lepanto. 

„  „                „        Venice   Enthroned,  with  eight 
allegories  around. 

„  „               „        Apotheosis  of  Venice. 

„  Manfrini  Pa^ace.Jupiter  and  Hebe  {ceiling). 

„  Ch.of  S.Sehaitiano.GoTonz.\Aoxi  of  Virgin. 

„  „                 „        The  four  Evangelists. 

,,  „                „        Three  scenes  from  life  of  Esther. 

„  „                ,,        Madonna  in  glory. 

„  „                „         St.  Sebastian  beaten  with  rods. 

„  „                 ,,        St.  Sebastian  before  Diocletian. 

,,  „                „         Miracles  at  Porch  of  Bethesda. 

,,  „                ,,        Purification  of  the  Virgin. 

„  „                „         SS.  Marcellus  and  Marcellinus. 

,,  „                „        Martyrdom  of  St.  Sebastian. 

„  „               „        Crucifixion. 

„  ,,                „        Madonna  and  Child. 

„  CA.o/iS.Catart'juz. Marriage  of  St.  Catharine. 

,,  Ci.o/.S'.i^raTicesco  Holy  Family. 

,,  „                „         Resurrection. 

,,  Ck.of  St.  Andrea. St.  Jerome. 
(^aatlfnco.Cn.ofSXibeTaU  Justice. 

„  „                „        Temperance. 

„  „               „        Time  and  Fame. 


Murano.  Ch.  offit.Pietro. 
Florence.  Uffizi. 


Fitti  Palace. 


Milan.      Brera  Gallery. 


Rome.       Vatican. 

,,  Falazzo  Doria. 


Falazzo  Borghese 


,,        Colonna. 

,,       Falazzo  Corsini. 
Bergamo.  Gallery. 

Brescia.     Ch.  of  S.  Afra. 
Turin.      Finacoteca. 

»)  »i 

Genoa.  Falazzo  Brignole. 

»)  »»  »i 

Vicenza.  Monte  Berico. 

Padua.      Santa  Giustina 
Paris.       Louvre.   ^ 


Rennes.  3fuseum, 
Rouen.  Museum. 
London.  NationalGallery. 


Cambridge.  Fiizwilliam. 
Oxford.  Christ  Church. 
Dresden.  Gallery. 


Munich.    Pinakothek. 


Vienna.    Belvedere. 
Madrid.     Gallery. 


St.  Jerome  in  the  Desert. 

Man's  Portrait. 

Holy  Family  and  St.  Catharine. 

Annunciation. 

Martyrdom  of  St.  Justina. 

Esther  before  Ahasuerua. 

Portrait  of  a  Man. 

Holy  Family. 

Head  of  St.  Paul. 

Portrait  of  Painter's  wife. 

Portrait  of  Daniels  Barbaro. 

St.  Benedict. 

Presentation  in  Temple. 

Baptism  of  Christ. 

Feast  in  House  of  Simon. 

Adoration  of  the  Magi. 

SS.  Gregory  and  Jerome. 

SS.  Ambrose  aud  Augustine. 

Baptism  of  Christ. 

SS.    Anthony,  Cornelius    and 
Cyprian. 

Last  Supper. 

Passion  of  Christ. 

Dream  of  St.  Helena. 

Angel  with  Tambourine. 

Christ  bearing  the  Cross. 

Portrait  of  a  Woman. 

St.  John  preaching  in  Desert. 

St.  Anthony  preaching  to  the 
fishes. 

SS.  Cosmo  and  Damian. 

Portrait  of  a  Man  in  Green. 

Marriage  of  St.  Catharine. 

St.  Christina. 

Martyrdom  of  St.  Afra. 

Feast  at  the  House  of  Simon. 

Visit  of  Queen  of  Sheba. 

■  Judith. 

Several  Portraits. 

Supper    of    St.    Gregory    the 
Great. 

Martyrdom  of  St.  Justina. 

Marriage  of  Cana. 

Feast  in  House  of  Simon. 

Susannah  and  the  Elders. 

Supper  at  Emmaus. 

Perseus  and  Andromeda. 

St.  Barnabas  healing  the  sick. 

Alexander  and  Farnily  of  Da- 
rius. 

Adoration  of  the  Magi. 

Consecration  of  St.  Nicholas. 

Vision  of  St.  Helena. 

Four  Allegorical  Groups. 

Mercin*y  aud  Aglauros. 

Marriage  of  St.  Catharine. 

Adoration  of  the  Magi. 

Marriage  at  Cana. 

Christ  bearing  the  Cross. 

Madonna  of  Cuccina  Family. 

Crucifixion. 

Resurrection. 

Death  of  St.  Catharine. 

Venus  and  Adonis. 

Portrait  of  Daniele  Barbaro. 

Leda  and  Swan. 

Susannah  and  Elders. 

Good  Samaritan. 

Centurion  of  Capernaum. 

Justice,  with  sword  and  balance. 

Love.     Mother  with  three  chil- 
dren. 

Faith,«?a"^A  a  chalice  in  her  hand. 

Strength.     A  powerful  female 
form. 

Portrait  of  a  Woman  in  brown 
dress. 

Holy  Family. 

Death  of  Cleopatra. 

Repose  in  Egypt. 

Christ     healing     St.      Peter's 
Mother-in-law. 

St.  Paul. 

Venus  and  Adonis. 

231 


A  BIOGRAPHICAL  DICTIONARY  OF 


Madrid.     Gallery.  Moses  saved  from  the  Waters, 

ji  „  Christ   at   the   House  of   the 

Centurion. 
^  ^  Susannah  and  the  Elders. 

^  „  The  Martyrdom  of  San  Gin&. 

J,  „  Assumption. 

„  „  The  Magdalene. 

„  „  The  Marriage  at  Cana. 

„  »  Calvary. 

„  „  The  Woman  taken  in  Adultery, 

(also  assigned  to  Zelotti  and 
Paolo  Farinati). 
„  „  A    Youth    between  Vice  and 

Virtue. 
„  „  The  Sacrifice  of  Abraham. 

„  „  Cain  wandering   with  his  Fa- 

mily. 
^  „  Several  Female  Portraits. 

FRESCOES. 

Villa  Fanzolo.  Fault  and  Punishment  of  Calioto. 

„  Death  of  Virginia. 

„  Ceres. 

„  Scipio  restoring  Captive  lo. 

„  Allegories. 

Villa  Tiene.  Scaevola  before  Porsenna. 

„  Cleopatra. 

jy  Sophonisba  and  Massiniosa. 

„  Xerxes  receiving  Tribute. 

Villa  Masiera.  Muses. 

„  Allegories  of  Music,  &c. 

„  Venus  with  Graces. 

„  Gods  of  Olympus. 

„  Group  of  lady  and  boys  in  a  Balcony. 

„  Allegories. 
Vil.  Magnadole.  Anthony  and  Cleopatra. 

„  Family  of  Darius. 

„  Hannibal^s  Oath. 

„  Founding  of  Carthage. 

„  Triumph  of  Caurillus. 

„  Triumph  of  Coriolanus. 

„  Cincinnatus  at  the  Plough, 

„  Cincinnatus  in  Battle. 

CALICI,  AcHlLLE,  a  Bolognese  painter,  was  bom 
about  the  year  1565.  He  was  a  scholar  of  Pros- 
pero  Fontana,  but,  preferring  the  finer  style  of 
Lodovico  Carracci,  he  became  his  disciple,  and, 
according  to  Malvasia,  painted  the  two  laterals  of 
the  high  altar  in  the  church  of  San  Michele  Arc- 
angelo  at  Bologna,  representing  St.  Michael,  and 
the  angel  Raphael  and  Tobias. 

CALIGARINO.    See  Capellini. 

CALIMBERG,  Joseph,  was  a  native  of  Ger- 
many, who  was  born  about  the  year  1505,  and 
passed  the  greater  part  of  his  life  at  Venice.  Of 
his  works  in  that  city  there  remains,  according  to 
Lanzi,  at  the  Servi,  the  '  Battle  of  Constantine.' 
His  style  is  not  without  merit,  though  rather  heavy 
in  execution,  and  sometimes  dark  and  disfigured 
by  mannerism.     He  died  at  Venice  in  1570. 

CALISTO  DA  LODI  (or  Calistds  Laudensis). 
See  Piazza. 

CALL,  Jan  van,  was  an  artist  bom,  according 
to  Descamps,  at  Nimeguen  in  1655.  He  is  said  to 
have  attained  considerable  proficiency  in  painting 
without  the  help  of  an  instructor.  His  first 
attempts  were  made  in  copying  the  landscapes  of 
Jan  Brueghel,  Paulus  Bril,  and  Willem  van  Nieu- 
lant,  and  he  studied  attentively  the  principles  of 
perspective  and  architecture.  He  afterwards  tra- 
velled through  Switzerland  to  Italy,  and,  during  a 
residence  of  some  years  at  Rome,  formed  an 
ample  collection  of  designs  from  the  most  pictur- 
esque views  in  the  environs  of  that  capital.  He 
returned  through  Germany  to  his  native  country, 
and  established  himself  at  the  Hague,  where  he 
died  in  1703.     His  drawings  are  more  esteemed 

232 


than  his  pictures  ;  they  are  purchased  at  consider- 
able prices  in  Holland,  where  they  are  found  in  the 
choicest  collections.  It  is  believed  that  he  occa- 
sionally worked  in  conjunction  with  Bakhuisen. 
A  series  of  views  from  his  drawings,  chiefly  repre- 
senting scenes  on  the  Rhine,  have  been  published 
by  Schenk.  He  was  also  clever  as  an  engraver, 
his  plates  being  principally  landscapes  from  his 
own  designs. 

CALL,  Jan  van,  'the  yomiger,'  was  a  clever 
designer  and  painter,  the  son  and  pupil  of  Jan  van 
Call.  He  was  employed  in  1748  by  the  King  of 
Prussia  to  make  water-colour  sketches  of  the 
battles  and  sieges  in  the  Flemish  wars  under 
Louis  XV. 

CALL,  Pieter  van,  was  a  son  and  pupil  of  Jan 
van  Call  the  elder,  and  was  bom  in  1698.  He 
designed  good  landscapes,  some  of  which  he  also 
engraved.  His  best  drawings,  however,  are  his 
architectural  subjects.     He  died  in  1737. 

CALLCOTT,  Sir  August  DS  Wall,  an  English 
landscape  and  marine  painter,  was  bom  at  Ken- 
sington in  1779.  He  was  brother  of  the  distin- 
guished musical  composer,  Dr.  Callcott,  and  in 
early  hfe  was  a  chorister  at  Westminster  Abbey. 
He,  however,  preferred  painting  to  music,  and  for 
some  time  pursued  both  studies,  until  the  success 
of  a  '  Portrait  of  Miss  Roberts,'  which  he  painted 
under  the  tuition  of  Hoppner,  in  1799,  and  which 
he  exhibited,  led  him  to  the  final  choice  of  paint- 
ing as  his  profession.  Very  little  experience,  bow- 
ever,  showed  him  that  portrait  work  was  not  suited 
to  his  taste,  and  from  1803  he  devoted  himself 
exclusively  to  landscape  painting.  His  first  efforts 
were  chiefly  limited  to  English  coast  and  river 
scenery,  or  to  views  on  the  Dutch  coast ;  but  after 
a  visit  to  Italy  in  1827  he  devoted  himself  more 
to  Italian  landscape ;  his  works,  which  have  a 
general  tendency  in  the  direction  of  Claude  Lor- 
rain,  being  marked  by  much  taste  in  their 
composition.  But  it  must  not  be  inferred  that 
he  is  to  be  compared  with  that  master ;  it  would 
be  more  correct  to  say  that  both  looked  at  nature, 
and  that  each  succeeded  in  his  own  way.  His 
marine  pictures  please  by  their  tranquilUty ;  all 
are  beautiful  in  the  selection  of  objects,  but  they 
are  sometimes  cold  and  monotonous  in  colour.  He 
was  for  many  years  a  contributor  to  the  exhi- 
bitions of  the  Royal  Academy,  of  which  he  was 
elected  an  Associate  in  1806,  and  an  Academician 
in  1810.  His  most  successful  production  in  figure 
painting  was  his  picture  of  '  Raphael  and  the  Foma- 
rina,'  exhibited  in  1837.  In  February,  1827,  Callcott 
married,  and  shortly  afterwards  started  on  a  tour 
through  Italy.  On  his  return  he  took  a  house  in  the 
Mall,  and  became  a  fashionable  artist.  His  wife,  who 
was  an  accomplished  woman,  assisted  him  by  her 
literary  labours  on  art  subjects.  On  the  accession 
of  Her  Majesty,  Callcott,  who  was  then  one  of  the 
favourite  artists  of  the  day,  received  the  honour  of 
knighthood.  Sir  Augustus  Callcott  died  in  1844, 
regretted  by  those  who  knew  him,  for  he  was  a 
liberal  patron  of  young  artists,  and  kind  and 
courteous  to  all.  His  works  are  mostly  views  of 
EngUsh  scenery,  though  he  sometimes  varied  them 
by  producing  figure  subjects  in  conjunction  with 
landscape.     Some   of  his   best  known    paintings 


London.      Nat.  Gall. 


Dutch    Peasants    returning   from 

Market  (B.^. ,1834). 
Coast    Scene  —  Waiting    for   the 

Boats. 


PAINTERS  AND  ENGRAVERS. 


London.     Nat.  Gall.    Landscape  with  Cattle. 
»  »  The  Wooden  Bridge. 

»  ,1  The  Old  Pier  at  Littlehampton 

(«.  A.,  1812). 
»  »  Entrance  to  Pisa  from  Leghorn 

(fl.  ^.,1833). 
»  ,  Dutch     Ferry — Peasants    waiting 

the  Return  of  the  Passage  Boat 

{R.  A.,  1834). 
1.  ,     ..  View  on  the  Coast  of  Holland. 

„      ^.  Kensington.   Italian  Landscape. 
»  ,,  A  Brisk  Gale  (E.A.,  1830). 

n  .,  Anne  Page  and  Slender. 

„  „  Dort  (i?.^.,  1842). 

»  „  A  Sunny  Morning  (if.  ^.,   1813). 

„  Earl  of  Durham.  Calm  on  the  Medway. 

CALLEJA,  Andres  db  la.  See  De  la  Calleja. 
CALLET,  Alphonse  Apollodore,  a  French 
historical  painter,  was  born  in  Paris  in  1799.  He 
was  the  brother  of  Felix  Callet,  the  architect,  and 
studied  under  David  and  Regnaud.  He  died  in 
Paris  in  1831.  The  Museum  of  Rouen  has  by  him 
"  The  Embarcation  of  the  Pargiotes." 

CALLET,  Antoine  Francois,  a  French  historical 
painter,  was  born  in  Paris  in  1741.  He  gained  the 
'  Prix  de  Rome  '  in  1764  witli  his  '  Cleobis  and 
Biton  conducting  the  Chariot  of , their  Mother  to 
the  Temple  of  Juno,'  now  in  the  Ecole  des  Beaux- 
Arts,  and  was  made  an  Academician  in  1780,  on 
which  occasion  he  painted  a  part  of  tlie  ceiling, 
representing  '  Spring,'  in  the  Gallery  of  Apollo  in 
the  Louvre.  He  exhibited  for  a  period  of  nearly 
forty  years,  his  pictures  embracing  historical  events 
of  his  time,  and  various  mythological  and  allegorical 
subjects.  There  are  four  examples  of  his  work,  a 
series  representing  '  The  Seasons,'  on  the  walls  of 
the  Louvre,  as  well  as  a  '  Triumph  of  Flora,'  which 
is  pleasing  and  harmonious  in  tone,  in  the  La  Caze 
Collection  at  the  same  place.  He  also  painted  the 
ceiling  of  the  Spinola  Palace  at  Genoa,  on  which 
is  represented  the  '  Apotheosis  of  Ambrogio  Spi- 
nola.' There  are  by  him  at  Versailles  allegories 
of  the  battle  of  Marengo,  the  surrender  of  Ulm, 
and  the  battle  of  Austerlitz,  as  well  as  the  well- 
known  full-length  portrait  of  Louis  XVL  in  his 
coronation  robes,  of  which  there  is  a  replica  in  the 
Madrid  Gallery.  This  portrait  has  been  engraved 
by  Bervic.  Callet  belonged  to  that  school  of 
French  art  of  which  Vien  was  the  most  distin- 
guished representative,  and  which,  by  rescuing  it 
from  the  degeneracy  of  Boucher,  prepared  the 
way  for  the  epoch  of  David.  He  died  in  Paris  in 
1823. 

CALLIAT,  Pierre  Victor,  an  architect  and 
etcher,  was  bom  in  Paris  in  1801.  He  studied 
under  Vaudoyer  and  Chatillon,  and  was  appointed 
in  1845  Inspector  of  Works  for  the  H6tel-de-Ville, 
and  later  for  the  city  of  Paris.  He  died  in  1881. 
He  published,  amongst  other  works, 

The  Hotel  de  Ville,  Paris,  with  48  etched  plates  ;  1844-56. 

The  Houses  of  Paris,  built  from  1830—1864,  with  246 
etched  plates  ;  1850-64. 

The  Church  of  St.  Eustache,  with  11  etched  plates  ;  1850. 

CALLISTO  DA  LODI.    See  Piazza. 

CALLOT,  Jacques,  a  French  engraver  and 
draughtsman,  was  bom  at  Nancy  in  1592.  He 
was  the  son  of  Jean  Callot,  who  was  of  a  noble 
family  and  Herald  at  Arms  for  Lorraine.  The 
story  of  Jacques  Callot's  early  life,  as  usually 
given,  runs  to  the  effect  that  his  father  had  in- 
tended him  for  government  service,  but  that  his 
desire  for  studying  the  arts  was  so  strong  that  he 
ran  away  to  Italy  at  the  age  of  twelve,  and  on  his 
being  accidentally  discovered  there  by  some  Nancy 


merchants,  was  brought  home,  only  to  escape  again 
shortly  afterwards  with  no  better  success,  one  of  his 
brothers  encountering  him  in  the  streets  of  Turin, 
and  conveying  the  runaway  again  forthwith  to  the 
parental  roof.    To  the  patient  and  laborious  inves- 
tigations of  M.  Edouard  Meaume  we  owe  the  know- 
ledge of  one  or  two  facts  which  bring  parts  of  the 
above  story  within  the  range  of  probability.    That 
author   has  discovered  that   no   fewer  than   four 
of  Callot's  brothers  became  members  of  religious 
orders,  and  he  suggests,  nut  %vithout  reason,  that 
the  impetuous  character  of  the  future  artist  was 
the  cause  of  his  rebelling  against  the  character  of 
the  preliminary  training  which  was  intended  to 
produce  a  like  result  in  his  case.     He  has  further 
pointed  out  that  there  is  ample  proof  of  the  ex- 
istence of  an  intimate  friendship,  in  spite  of  some 
little  disparity  of  years,  between  Henriet  Israel, 
the  son  of  the  court  painter  to  the  Duke  of  Lor- 
raine at  that  day,  and  Jacques  Callot,  as  well  as  of 
the  fact  that  the  lad  was  getting  aid  from  the 
counsels  of  the  court  painter  himself,  and  some 
early  lessons  in  the  graver's  art  from  the  royal 
engraver,    Dumange   Crocq.      The   death   of  the 
painter  royal  in   1603,   and    the   appointment  of 
Bellange,  then  recently  arrived  from  Italy,  to  the 
vacant  post,  led  to  the  departure  of  Henriet  Israel 
for  Rome.     And  Rome  became  naturally  enough 
the  point  on  which  the  j'outhf  ul  Callot's  eyes  were 
fixed  when  it  became  a  que.stion  with  him  whether 
he  should  any  further  submit  to  the  home  treat- 
ment which  was  so  irksome  to  him,  or  take  refuge 
in  flight.     At  Rome  were  the  treasures  of  art  of 
which  he  had  heard  so  much  ;    at   Rome  was  a 
friend  with  whom  he  was  sure  of  a  welcome,  at 
whose  side  he  longed  once  more  to  place  himself. 
The  fact  that  he  reiade  his  way  as  far  as  Florence 
in  the  company  of  a  party  of  gipsies,  the  men  of 
the  party  being,   as    seems  to   have  been  gipsy 
custom  in  those  good  days,  armed  to  the  teeth,  is 
well  established  ;  and  it  is  equally  clear  that  at 
that  city  he  worked  for  some  time  in  the  graver's 
atelier  of  Canta-Gallina.     That  artist  did  him  good 
service  in  compelling  him  for  a  time  to  moderate 
his  natural  tendency  for  the  grotesque  by  copying 
from  the  best  masters.     But  Rome,  the  goal  of  his 
wishes,  had  not  yet  been  reached,   and  so,  after 
some  months  of  life  in  Florence,  the  boy  was  away 
on  the  march  again,  and  this  time  reached  the 
Eternal   Qty.       It   would   seem   not    improbable 
that  his  friend  Henriet  Israel,  after  giving  him  a 
most  cordial  welcome  there,  may  have  sent  word 
to  his  family  of  the  boy's  whereabouts,  in  order 
to   relieve  their  anxiety,    and   thus   it  may  have 
been  arranged  for  him  to  travel  home  under  the 
convoy  of  the  local  merchants.     It  is  not  quite  so 
easy  to  suggest  the  real  account  of  the  difficulties 
that  terminated  his  second  attempt  to  reach  Rome. 
His  father's  Court  influence  may  have  probably 
enough  put  the  authorities  of  some  of  the  prin- 
cipal towns  on  the  qui  vive  for  the  young  fugitive, 
and  so  a  second  time  have  led  to  liis  being  taken 
back  to  Nancy.     Eventually  his  father,  finding  it 
the  best  course  to  yield  to  his  son's  inclination,  con- 
sented to  his  going  to  Italy,  and  obtained  him  per- 
mission to  travel  in  the  suite  of  the  envoy  whom 
the  new  Duke  Henry  II.  was  just  sending  to  the 
Papal  Court      As  there  exists  an  early  engraving 
of  Callot's  of  a  portrait  of  Duke  Cliarles  painted 
in   1607,  it  is  probable  that  the  boy's  skill  was 
known  at  Court,  and  that,  in  making  the  above  con- 
cession, his  father  yielded  to  the  representation  of 

233 


A  BIOGRAPHICAL  DICTIONARY  OF 


persons  of  note.  The  embassy  quitted  Nancy  late 
in  the  year  1608,  Callot  being  then  but  sixteen 
years  old. 

Arrived  at  Rome,  he  studied  probably  for  a  time 
under  Tempesta,  tlie  master  of  Henriet  Israel  and  of 
Claude  Deruet,  and  then  under  Q-iulio  Parigi ;  but 
as  his  preference  for  etching  and  engraving  became 
more  decided,  he  placed  himself  under  the  tuition 
of  Phihppe  Thomassin.  He  went  again  to  Flo- 
rence in  1611,  in  the  time  of  the  Grand-Duke 
Cosmo  II.,  renewed  his  intimacy  with  Canta- 
Gallina,  engraved  several  subjects  after  Andrea 
del  Sarto,  Perino  del  Vaga,  and  others,  and  more 
especially  brought  himself  into  the  notice  of  his 
future  patron,  the  duke  there,  by  a  series  of  small 
etchings  from  his  own  designs.  On  the  death  of 
the  duke  he  found  a  protector  in  Prince  Charles 
of  Lorraine,  who  persuaded  him  to  return  to 
Nancy,  having  assured  him  of  a  position  in  the 
service  of  Henry,  the  then  reigning  Duke  of  Lor- 
raine. He  quitted  Italy  in  1621  or  1622,  and 
settling  again  in  his  native  town,  he  developed 
extraordinary  aotivit}',  and  gradually  gained  for 
himself  an  almost  world-wide  reputation.  It  was 
owing  to  the  great  esteem  in  which  his  talents 
were  held  that  he  was  summoned  by  the  Infanta 
Clara  Eugenia  to  Brussels  to  design  and  engrave 
the  '  Siege  of  Breda,'  and  was  engaged  subsequently 
by  the  French  monarch,  Loviis  XIII.,  to  execute  in 
the  same  manner  'The  Siege  of  La  Rochelle,'  and 
of  '  The  Siege  of  the  Isle  of  Rd.'  His  views  of  the 
Louvre  and  of  the  Pont  Neuf  were  taken  while  he 
was  at  Paris  engaged  upon  these  works  in  the  year 
1629,  and  there  also  he  had  the  satisfaction  of  re- 
newing his  old  intimacy  with  Henriet  Israel. 

He  returned  to  Nancy  after  no  long  residence  in 
the  capital,  and  was  witness  to  the  siege  and 
capitulation  of  his  native  town  in  1633.  The  French 
monarch  called  on  him  to  use  his  skill  in  drawing 
and  engraving  a  plate  commemorative  of  the 
occurrence,  as  he  had  done  in  the  case  of  the  other 
French  victories ;  but  Callot  desired  to  be  per- 
mitted to  decline  what  he  considered  as  celebrat- 
ing the  humiliation  of  his  country.  Some  of  the 
courtiers,  anxious  for  the  possession  of  such  a 
souvenir,  are  said  to  have  observed  to  the  artist 
that  there  were  means  of  making  him  comply,  to 
which  he  replied  \\'ith  much  spirit  that  he  would 
sooner  cut  off  his  right  hand  than  employ  it  in 
such  a  work ;  a  speech  which,  being  reported  to 
the  king,  led  him  to  say  that  the  Dukes  of  Lorraine 
were  fortunate  in  the  possession  of  such  subjects. 

It  is  said  that  Callot  had  determined,  in  conse- 
quence of  the  annexation  of  Nancy  to  France,  to 
retire  to  Florence,  but  that  he  died  before  carrying 
his  plan  into  execution.  His  death  occurred  at 
Nancy  on  the  2-lth  of  March,  1635,  at  the  com- 
paratively early  age  of  43. 

There  exists  a  good  portrait  of  Callot,  taken  by 
Van  D}-ck  on  the  occasion  of  his  \asiting  Brussels, 
and  of  this  there  is  a  fine  engraving  by  Vorster- 
man.  Several  collections  possess  paintings  which 
have  been  supposed  to  have  been  produced  by 
Callot's  hand,  but  more  recent  investigation  leads 
to  the  conclusion  that  they  are  in  all  probability 
wrongly  attributed,  and  that  he  did  not  execute 
any  finished  work  of  that  nature.  There  are  sixty- 
two  drawings  by  him  in  the  Louvre. 

His  engravings  exhibit  great  fertility  of  inven- 
tion and  extraordinary  variety  of  style.  It  is  a 
remarkable  fact  that  many  artists  who  followed 
hiffij  and  who  f  ai  surpassed  him  in  the  technical  use 

234 


of  the  graver,  are  comparatively  little  known,  their 
reputation  being  completely  dimmed  by  the  lustre 
of  that  of  Callot,  in  consequence  of  the  absence  in 
their  case  of  his  extraordinary  powers  of  imagin- 
ation. Those  of  his  engravings  in  which  he  has 
confined  himself  to  figures  of  a  small  size  are  the 
most  highly  esteemed,  as  when  he  attempted  to 
produce  figures  on  a  larger  scale  they  were  apt  to 
be  somewhat  heavy,  so  that  the  result  was  less 
characteristic  of  his  charming  power  of  combining  J 
a  touch  of  humour  with  a  photographic  grasp  of  % 
the  details  of  a  scene.  His  etchings  are  greatly 
admired.  It  is  true  they  are  seldom  brilliant  in 
respect  of  the  arrangement  of  the  lights,  but  the 
pose  of  his  figures  is  highly  pleasing,  and  the 
work  shows  a  certainty  of  stroke  and  a  lightness 
of  touch  characteristic  of  a  master  hand.  They 
are  principally  done  with  hard  varnish  (vemis  de 
luthiers),  a  method  of  his  own  invention.  In 
proof  of  his  diligence  we  are  told  by  M.  de  Wate- 
let  that  there  existed  four  different  drawings  for 
his  celebrated  plate  of  'The  Temptation  of  St. 
Anthony.'  The  number  of  his  plates  is  prodigious, 
being  over  1400.  A  full  account  of  them  is  to  be 
four  d  in  M.  Meaume's  '  Recherches  sur  la  vie  et  lea  J 
ouvragesde  Jacques  Callot,' published  1860.  There  ^ 
is  a  portrait  of  Callot  in  the  UiEzi  at  Florence. 

Thefollowingarehisprincipalplates;  some  — 
of  which  are  marked  with  the  letters  A.  J.  C,  tt 
others  with  the  accompanying  monogram  :  A 

Cosmo  m.,  Grand  Duke  of  Tuscany ;  oval. 
Francis,  Grand  Duke  of  Tuscany  ;  oval ;  scarce. 
Charles  III.,  Duke  of  Lorraine  ;  scarce. 
The  Marquis  de  Marignau,  General  of  Charles  V. ; 

scarce. 
Donato  dell'  Antella,  a  Florentine  Senator ;  scaice. 
Claude  Deruet,  painter,  and  his  Son.     1632. 
Giovanni  Domenico  Peri,  known  as  *  Le  Jardinier.* 
The  Murder  of  the  Innocents,  engraved  at  Florence; 

scarce. 
The  same  subject,  engraved  at  Nancy,  with  variations. 
The  Annunciation,  with  the  words  £cce  Ancilla  Domini 

coming  from  the  mouth  of  the  Virgin ;  after  Mattto 

EosselU ;  very  scarce. 
Christ  bearing  His  Cross;   small  oval;   engraved  on 

silver. 
The  Crucifixion,  with  the  Virgin,  St.  John,  and  Magda- 
lene ;  scarce. 
The  Entombment  of  Clunst ;  after  Ventura  Salimbeni. 
The  Vu-gin  and  Infant,  with  St.  Ehsabeth  and  St.  John ; 

after  Andrea  del  Sarto. 
The  Holy  Family,  with  St.  Joseph  giving  drink  to  the 

Infant  Jesus. 
The  Little  Assumption,  called  the   Assumption  with 

Cherubim. 
Another  Assumption ;  oval. 
The  Triumph  of  the  Virgin ;  dedicated  to  the  Duke  of 

Lorraine. 
St.  John  in  the  Isle  of  Patmos. 
The  Temptation  of  St.  Anthony ;  dated  1635. 
Another  Temptation  of  St.  Anthony,  with  a  River  in  the 

middle,  and  on  the  right  some  Devils  drinking  ;  very 

scarce. 
The  Martyrdom  of  St.  Sebastian ;  a  grand  composition. 
St.  Mansnetus  restoring  to  life  the  Son  of  King  Leucorus. 
St.  Nicholas  preaching  in  a  'W^ood. 
Jupiter  hurling  thunderbolts  at  the  Giants ;  scarce. 
Pandora,  with  the  Assembly  of  the  Gods. 
The  Card-players. 
The  Punishments.    The  best  impressions  of  this  fine 

print  have  a  small  square  tower  above  the  houses  on 

the  left,  and  a  little  image  of  the  Virgin  in  an  angle 

of  the  wall  in  the  middle  of  the  print. 
A  Vi''oman  seated  with  a  Child  in  her  Aims,  and  another 

eating  Fruit  under  a  Tree  ;  very  scarce. 
A  View  of  the  Louvre,  with  the  Tour  de  Nesle. 
A  View  of  the  Pont  Neuf  at  Paris ;  the  companion. 


PAINTERS  AND  ENGEAVEES. 


The  Parterre  of  Nancy,  with  figures  walking. 

The  Garden  of  Nancy  ;  very  scarce. 

The  Great  Fair  of  Florence,  engraved  at  Florence,  1620; 

fine  impressions  of  this  print  are  very  scarce ;  in  two 

sheets. 
The  same  subject,  engraved  at  Nancy,  called  the  Fair 

of  Nancy;  inscribed  Fe  Fiorentim  et  exc.  Nancei. 
The  Little  Fair,  called  the  Players  at  Bowls,  with  figures 

dancing ;  the  best  impressions  are  before  the  name  of 

Callot ;  scarce. 
The  Siege  of  the  Isle  of  Re ;  in  sixteen  sheets. 
The  Siege  of  EocheUe ;  similar. 
The  Siege  of  Breda ;  in  eight  sheets. 
The  Tilting,  or  the  New  Street  at  Nan<^. 
The  Life  of  the  Virgin ;  in  fourteen  plates,  with  the 

title. 
The  Life  of  the  Virgin ;  in  twenty-seven  plates. 
Nine  plates  of  devout  subjects ;  GloriosissimiB  Virginis, 

&G. 

Eleven  of  the  New  Testament,  with  a  title  by  A.  Basse  ; 

twelve  plates. 
Eleven  of  the  Prodigal  Son.    1635. 
Seven,  the  Great  Passion  of  Jesus  Christ. 
Twelve,  the  Little  Passion:   the  first  impressions  are 

very  scarce. 
The  Acts  of  the  Apostles ;  in  twenty-nine  plates,  exe- 
cuted with  the  graver  in  his  early  time. 
Six  of  the  Penitents,  including  the  title  by  A.  Bosse. 
Sixteen  of  Christ,  the  Virgin,  the  Apostles,  &c.     1631. 
Sixteen  of  the  Martyrdom  of  the  Apostles,  &c. 
Four,  called  the  Little  Banquets. 
Forty-one  of  the  Miracles;   entitled  Scelta  d'  alcuni 

iniracoli,  &c. 
Seven  of  the  Seven  Mortal  Sins. 
Eighteen  of  the  Miseries  of  War ;  dated  1633. 
Seven  of  the  Little  Miseries  of  War;  the  title  by  A. 

Bosse ;  eight  plates.     1636. 
Fourteen  of  Military  Exercises. 
Fourteen  of  Fantasies ;  dated  1635. 
The  Caprices,  engraved  at  Florence. 
Varie  figure  dl  lacopo  Callot ;  in  seventeen  plates. 
Balli  di  Sfessania  ;  in  twenty-four  plates. 
Twenty-five  of  Beggars;  entitled  Capitano  de  Baroni; 

fine. 
Twelve  of  Ladies  and  Gentlemen  in  the  Dresses  of  the 

Mode. 

CALLOW,  John,  an  English  water-colour  land- 
Bcape  painter,  was  born  in  1822.  He  was  an  asso- 
ciate of  the  Water-Colour  Society,  and  died  at 
Le  wish  am  in  1878. 

CALOMATO,  Bartolommeo,  was  a  painter  of  the 
Venetian  school  who  flourished  in  the  17th  century. 
He  was  remarkable  for  his  small  pictures  repre- 
senting scenes  from  town  and  country  life,  enlivened 
with  figures  well  composed  and  graceful  in  ex- 
pression. 

CALTHEOP,  Claude,  was  a  brother  of  the 
celebrated  actor,  John  Clayton,  and  a  pupil  of 
John  Sparkes,  and  of  the  Eoyal  Academy  where  he 
gained  the  Gold  Medal  for  historical  work.  He 
completed  his  art  education  in  Paris,  and  always 
painted  pictures  of  a  dramatic  or  anecdotal  tend- 
ency, which  interested  the  pubHc.  He  died  sud- 
denly at  the  beginning  of  the  year  1893,  aged  48. 
CALVAEET,  Dionysius,  also  called  Dionisio 
FlAMMlNGO,  who  may  be  considered  to  have  been  a 
Bolognese  rather  than  a  Fleming,  was  an  eminent 
painter  who  was  born  at  Antwerp  about  1540.  His 
name  was  originally  written  Caluwaert,  and  is  so 
entered  in  the  Antwerp  'Liggeren'  for  1556-57. 
He  had  made  some  proficiency  in  the  art  in  his 
own  country  under  Ohristiaen  van  Queecborne, 
when  he  visited  Italy,  and  came  to  Bologna 
possessed  of  some  talent  as  a  landscape  painter. 
To  perfect  himself  in  the  study  of  figure  draw- 
ing, he  first  frequented  the  school  of  Prospero 
Fontana  in  1570,  and  afterwards  became  a  disciple 


of  Lorenzo  Sabbatini,  to  whom  he  was  of  no  in- 
considerable utility  in  his  works  in  the  Vatican. 
On  leaving  Sabbatini  he  occupied  some  time  in 
studying  the  works  of  Raphael  at  Eome,  and 
returned  to  Bologna  about  1674,  and  there  estab- 
lished that  celebrated  school  where  Albani,  Domeni- 
chino,  and  Guido  received  their  first  instruction 
in  art,  and  from  which  they  subsequently  passed 
into  that  of  the  Carracci.  An  excellent  colourist, 
intelligent  in  perspective,  and  a  correct  and  grace- 
ful designer,  he  was  regarded  at  Bologna  as  the 
restorer  of  their  school,  which  had  at  that  period 
fallen  into  some  degree  of  decadence.  There  is 
something  of  mannerism  in  his  style,  and  a  certain 
air  in  the  movement  of  his  figures  that  is  strained 
and  awkward.  He  was  an  excellent  instructor 
of  the  youth  of  his  time,  and  attended  to  the 
studies  of  his  pupils  with  the  greatest  diligence. 
He  also  produced  a  considerable  number  of  small 
paintings  of  sacred  subjects  on  copper  for  the  use 
of  monks  and  nuns  in  their  cells.  Many  of  his 
most  important  works  have  been  engraved.  He 
died  at  Bologna  in  1619,  and  was  buried  in  the 
church  of  the  Servites  in  that  city.  Most  of  the 
churches  of  Bologna  possess  paintings  by  this 
artist ;  there  are  also  : 
Bologna,  Gallery,  Madonna  and  Child,  with  St. 
Anthony ;  Christ  appearing  to  the  Magdalen ;  The 
Flagellation.  Florence,  PMi  Palace,  St.  Jerome; 
Uffizi,  Assumption  of  the  Virgin. 

CALVERT,  Charles,  a  landscape  painter,  was 
born  in  1785  at  Glossop  Hall,  in  Derbyshire,  of 
which  estate  his  father  was  at  that  time  agent  for 
the  Duke  of  Norfolk.  He  began  life  as  a  cotton- 
merchant,  but  soon  relinquished  that  occupation  for 
the  fine  arts.  His  time  was  much  taken  up  in 
teaching ;  but  he  'passed  his  leisure  hours  among 
the  lakes,  painting  both  in  oil  and  water-colour. 
He  was  instrumental  in  founding  the  Eoyal  Man- 
chester Institution,  and  obtained  there  the  Hey- 
wood  gold  medal  for  the  best  oil  picture  painted  by 
an  artist  residing  within  forty  miles  of  Manchester, 
and  also  the  silver  medal  for  water-colour  draw- 
ings. He  died  at  Bowness  in  Westmoreland,  in 
1852. 

CALVERT,  Edward,  painter  and  draughtsman, 
was  born  in  Cornwall  about  1803.  His  father  was 
a  naval  officer,  and  he  himself  served  for  a  time  as 
a  midsliipman.  He  studied  painting  under  a  west- 
country  artist  named  Johns,  married  at  an  early 
age,  and,  coming  to  London,  entered  the  Eoyal 
Academy  schools.  He'  began  work  in  the  capital 
as  an  illustrated  draughtsman  upon  wood.  His 
diffidence  led  him  to  constantly  destroy  his  blocks 
and  plates,  so  that  impressions  from  them  are  very 
scarce.  His  admiration  for  Greek  art  led  him  to 
visit  Greece,  whence  he  brought  back  many  studies. 
A  worshipper  of  Blake,  whose  acquaintance  he  had 
made  in  his  youth,  he  became  the  intimate  friend  of 
John  Linnell,  and  of  his  son-in-law,  Samuel  Palmer. 
He  died  on  the  14th  of  July,  1883.  Among  his  prints 
the  most  remarkable  are  perhaps  the  '  Christian 
ploughing  the  Last  Furrow  of  Life,'  and  the  '  Cider 
Press,'  botli  strongly  reminiscent  of  Blake. 

CALVEET,  Frederick,  is  known  as  a  contributor 
to  the  'ArcliKolosical  Journal,'  in  which  he  illus- 
trated the  tumuli  in  the  Troad,  and  other  antiqui- 
ties. In  1830  he  published  '  Picturesque  Views  in 
Staifordshire  and  Shropshire,'  witli  thirty-nine 
llates.  Three  water-colour  drawings  by  him  are 
in  the  South  Kensington  Museum. 

235 


A  BIOGRAPHICAL  DICTIONARY  OF 


CALVET,  Esprit  Claude  FRANgois,  a  French 
physician,  antiquary,  and  amateur  painter,  was  born 
at  Avignon  in  1728.  He  founded  the  Museum 
Calvet  at  Avignon,  and  died  in  that  city  in  1810. 

CALVI,  GlULio,  called  II  Coronato,  was  born  at 
Cremona  about  the  year  1570.  He  was  a  scholar 
of  Giovanni  Battista  Trotti,  and  according  to  Zaist, 
in  his  'Notizie  istoriche  de'  Pittori  Cremonesi,' 
painted  so  much  in  the  manner  of  his  master,  that 
his  pictures  might  have  been  confounded  with  the 
inferior  works  of  Trotti,  had  he  not  signed  them 
with  his  name.  Paintings  by  him  can  be  seen  at 
Cremona  and  at  Soncino.     He  died  young  in  1596. 

CALVI,  Lazzako  and  Paktaleone.  These  two 
painters  were  the  sons  of  Agostino  Calvi,  a  Genoese 
painter  of  no  great  note,  but  who  was  one  of  the 
first  to  abandon  the  old  habit  of  painting  on  a  gold 
ground,  and  work  on  a  basis  of  oil  colours.  Laz- 
zaro  was  bom  in  1502,  and  together  with  his  brother 
Pantaleone,  after  receiving  some  instruction  from 
their  father,  entered  the  school  of  Perino  del  Vaga. 
Although  Pantaleone  was  the  elder  brother,  he  con- 
tented himself  with  unobtrusively  contributing  to 
the  celebrity  of  Lazzaro,  by  an  exercise  of  his 
powers  in  the  ornamental  accessories,  which  formed 
no  inconsiderable  part  of  the  attraction  of  the  works 
which  they  executed  at  Genoa  and  the  different 
cities  of  the  republic,  as  well  as  at  Monaco  and 
Naples.  Lanzi  considers  as  their  principal  work 
the  facade  of  the  Palazzo  Doria  (now  Palazzo 
Spinola),  where  are  represented  prisoners,  and  other 
figures,  in  various  attitudes,  designed  in  so  grand 
a  style,  and  executed  with  such  fine  taste,  that  it  is 
in  itself  a  school  for  the  study  of  drawing.  This 
work  of  the  Calvi  is  mentioned  by  Lomazzo  in 
terms  of  the  highest  praise  in  his  '  Trattato  della  Pit- 
tura.'  Their  picture  of  '  The  Continence  of  Scipio,' 
in  the  Palazzo  Pallavicini,  exhibits  an  acquaintance 
with  the  nude  which  Mengs  considered  worthy  of 
their  master  Perino  del  Vaga,  bj'  whom  Lanzi  sus- 
pects they  may  have  been  assisted  in  some  of 
their  best  works,  as  he  is  known  to  have  very 
liberally  accommodated  them  with  his  drawings 
and  cartoons.  The  jealousy  or  ambition  of  Laz- 
zaro, irritated  by  the  success  of  some  of  his  con- 
temporaries, prompted  him  to  the  commission  of 
the  most  horrid  crimes.  He  occasioned  the  death 
of  Giacomo  Bargone,  a  most  promising  artist,  by 
poison ;  and  he  hired  persons  to  vilify  the  works 
of  the  ablest  painters  of  the  time,  and  to  extol  his 
own.  It  was  in  the  midst  of  these  cabals  and 
atrocities  that  he  was  engaged,  together  with 
Andrea  Semini  and  Luca  Cambiaso,  to  paint,  in  the 
chapel  of  the  Nobili  Centurioni, '  The  Birth  and  Life 
of  St.  John  the  Baptist ; '  and  although,  in  this  com- 
petition, he  exerted  his  utmost  powers,  and  pro- 
duced one  of  his  finest  works,  the  preference  was 
given  to  the  performance  of  Cambiaso,  whom  Prince 
Doria  accordingly  commissioned  to  execute  the 
frescoes  in  the  church  of  San  Matteo.  Lazzaro 
was  so  mortified  at  this  that  he  determined  to 
abandon  the  art,  and  he  actually  became  a  mariner, 
and  withdrew  himself  from  painting  for  twenty 
years.  He  returned,  however,  to  his  profession, 
which  he  continued  till  he  was  in  his  85th  year. 
His  last  works  were  for  the  church  of  Santa  Catta- 
rina,  and  it  is  not  surprising  that,  at  so  advanced  a 
period  of  life,  they  were  weak,  languid,  and  senile. 
He  died  in  1587 :  his  brother  Pantaleone  died  in 
1595. 

CALZA,  Antonio,  was  a  painter  of  battle-scenes 
who  was  born  at  Verona  in  1653.     He  studied  at 

236 


Bologna  under  Carlo  Cignani,  but  his  genius  lead- 
ing him  to  paint  horses  and  other  animals,  and  having 
met  with  some  of  the  works  of  Borgognone,  he 
resolved  to  visit  Rome  for  the  purpose  of  studying 
under  that  master,  by  whose  instruction  he  was 
greatly  assisted.  He  returned  to  Bologna,  where 
he  painted  battle-pieces  and  landscapes  with  great 
success,  and  had  a  number  of  scholars  and  imitators, 
his  pictures  being  much  in  vogue.  He  died  at 
Bologna  in  1714,  or,  according  to  Zani,  in  1725. 

CALZETTA,  Pietro,  an  Italian  painter,  was 
the  son-in-law  of  Montagnana,  and  a  disciple  of 
Squarcione.  He  was  engaged  at  the  Santo  of 
Padua  in  1466  to  paint  the  chapel  of  Corpus 
Christi.  In  1470  he  restored  some  works  of  Ste- 
fano  of  Ferrara  in  the  Santo,  and  in  the  same 
year  he  contracted  to  work  with  Montagnana  and 
Matteo  del  Pozzo  at  the  decorations  of  the  Cappella 
Gattamelata  in  Padua.  Up  to  1500  he  was  still 
employed  at  the  Santo.  There  is  an  '  Ecce  Homo  ' 
by  him  in  one  of  the  chapels  of  that  chiirch.  No 
dates  can  be  given  as  to  his  birth  or  death. 

CALZOLARETTO,  Ih.     See  Capellini. 

CAM,  F.  VAN  DER.    See  Van  der  Cam. 

CAMACHO,  Pedro,  was  a  Spanish  painter  who, 
towards  the  end  of  the  17th  century,  executed 
with  one  Munoz  some  well-coloured  pictures  from 
the  life  of  San  Pedro  Nolasco  for  the  cloister  of 
the  convent  of  Mercy  at  Lorca.  To  him,  likewise, 
were  attributed  some  pictures  of  our  Lord's  Pas- 
sion in  that  convent,  and  of  the  Four  Great  Doctors 
of  the  Church  in  the  collegiate  church  of  that  city. 

CAMARON  T  BONONAT,  Jose,  who  was  born 
at  Segorbe,  in  1730,  becjime  director  of  the  Academy 
of  St.  Charles  at  Valencia,  in  which  city  he  died  in 
1803.  A  '  Mater  Dolorosa,'  by  him,  is  in  the  Madrid 
Gallery. 

CAMASSEI,  Andrea,  was  a  painter  and  etcher, 
who  was  bom  at  Bevagna  in  1601.  He  first  studied 
under  Domenichino  at  Rome,  but  afterwards  fol- 
lowed the  school  of  Andrea  Sacchi.  He  painted 
both  in  oil  and  fresco,  and  his  powers  as  an  his- 
torical painter  can  be  seen  in  many  of  the  public 
edifices  of  Rome.  His  productions  are  distinguished 
by  a  very  careful  study  of  nature,  and  by  tender 
and  graceful  colouring.  Several  of  his  pictures 
have  been  engraved  by  Bloemart.  His  etchings 
are  now  very  rare,  not  more  than  one  or  two  being 
known,  and  are  marked  A.  G-  scolp.  He  died  at 
Rome  in  1648.  Of  his  works  may  be  mentioned  : 
Madrid.  Gallery. 


Kome.   Palazzo  Bondamni. 


Obsequies  of  a  Koman 

Emperor. 
Battle    of     Constantine 
with  Maxentius. 
Baptistery  of  the  Lateran.  Triumph  of  Constantine. 
La  Rotunda.  Assumption  of  the  Vir- 

gin. 


Capuchin  OiuTch. 


APieta. 


CAMBIASO,  Giovanni,  was  an  artist  bom  near 
Genoa  in  1495,  who  formed  his  style  from  the 
study  of  the  works  of  Perino  del  Vaga  and 
Pordenone  in  the  Palazzo  Doria  at  Genoa.  He 
devoted  much  time  to  the  study  of  anatomj-,  and 
is  said  to  have  been  the  author  of  the  method 
adopted  in  designing  whereby  the  human  body  is 
divided  into  small  squares  in  order  to  give  the  cor- 
rect proportions  in  foreshortening.  He  is  thought 
to  have  lived  to  an  advanced  age,  but  the  date  of 
his  death  is  unceitain. 

CAMBIASO,  LucA,  known  as  Luchetto  da 
Genova  and  as  Luchino,  the  son  of  Giovanni  Cam- 
biaso, was  bom  at  Moneglia  near  Genoa  in  1527, 


PAINTERS  AND  ENGRAVERS. 


He  received  hie  first  instructions  in  art  from  his 
father.  Born  with  the  genius  of  a  painter,  he  soon 
outstripped  his  instructor ;  and  when  he  was  fifteen, 
produced  works  that  had  the  appearance  of  matur- 
ity, and  sufficiently  indicated  that  he  would  prove 
one  of  the  most  distinguished  painters  of  his 
country.  It  was  to  his  friend  Costelli,  in  conjunc- 
tion with  whom  he  painted  many  large  works,  that 
he  was  indebted  for  the  correction  of  his  early 
faults  of  style,  and  for  most  valuable  instruction 
in  colouring  and  perspective.  It  was  the  advice 
also  of  the  same  good  friend  that  led  him  to  a 
closer  study  of  nature,  and  that  greatly  improved 
his  taste.  He  visited  Florence  and  Rome,  where 
he  increased  his  natural  conception  of  grandeur 
by  contemplating  the  works  of  Michelangelo  and 
Raphael.  In  his  first  performances  he  appears  to 
have  been  led  away  by  the  ardour  and  vivacity  of 
his  genius,  and  his  early  works  have  something  of 
the  extravagant  and  gigantesque.  It  was  usual 
for  him  to  paint,  both  in  oil  and  in  fresco,  without 
having  prepared  either  drawing  or  cartoon  ;  he  is 
also  said  to  have  painted  with  great  rapidity,  and 
often  with  both  hands  at  once.  In  his  better  time 
he  checked  this  impetuosity,  and  it  was  in  the 
middle  of  his  life  that  he  produced  his  most 
esteemed  works,  which  for  transparency  of  colour- 
ing and  for  gracefulness  of  pose  have  been  con- 
sidered far  superior  to  those  of  his  contemporaries. 
His  picture  of  '  The  Martyrdom  of  St.  George,'  in 
the  church  dedicated  to  that  saint,  is  considered  by 
some  as  his  best  performance,  from  the  admirable 
expression  in  the  head  of  the  martyr,  the  breadth 
of  the  composition,  and  the  judicious  management 
of  the  chiaroscuro ;  but  others  prefer  his  '  St. 
Benedict,'  and  '  St.  John  the  Baptist,'  at  Roc- 
chettini.  Another  of  his  finest  efforts  is  the 
'  Rape  of  the  Sabines,'  at  the  Palazzo  Imperiale,  at 
Terralba,  near  Genoa.  Everything  pleases  in  this 
work:  the  sumptuous  architecture,  the  beauty  and 
spirit  of  the  horses,  the  modest  reluctance  of  the 
women,  the  impassioned  ardour  of  the  men,  and 
the  appropriateness  of  the  minor  accessories.  Maz- 
zolari  says  this  extraordinary  work  was  executed 
in  fifteen  months,  and  thinks  that  it  was  impos- 
sible for  the  painter  to  have  produced  it  in  that 
time  without  assistance.  It  is  said  that  Mengs,  on 
seeing  this  picture,  declared  he  had  seen  nothing 
out  of  Rome  that  approached  so  near  to  the  beauty 
of  the  Loggie  of  the  Vatican. 

Having  the  misfortune  to  lose  his  wife,  and  being 
imable  to  obtain  the  papal  permission  to  marry 
her  sister,  Cambiaso  allowed  the  disappointment 
to  prey  on  his  mind  till  he  became  melancholic. 
It  is  believed  that  it  was  with  the  hope  of  in- 
ducing the  Spanish  monarch  to  bring  about  his 
wish  that  he  readily  accepted  in  1583  a  proposal 
to  go  to  Spain  to  complete  some  paintings  left 
unfinished  by  his  friend  Castelli,  who  had  recently 
died.  There  he  was  employed  by  Philip  II.  in 
the  Escorial,  where  he  painted  a  variety  of  works, 
and  especially  the  ceiling  of  the  choir,  representing 
'  The  Assemblage  of  the  Blessed,'  an  immense  com- 
position, which  is  highly  applauded  by  Lomzzo. 
Cambiaso  died,  as  commonly  believed,  from  con- 
tinued disappointments,  at  the  Escorial  in  1585. 

Besides  the  works  previously  alluded  to,  speci- 
mens of  this  artist's  paintings  may  be  seen  at 
Naples,  and  at  the  convent  of  the  Augustines  at 
Pontre  Moli : 


Berlin. 
Bologna. 


Gallery.       Charity. 
Pinacoteca.   Birth  of  Christ 


Dulwich. 

Gallery, 

Venus  and  Cupid. 

Florence. 

Vffizi. 

Madonna  and  Child. 
His  own  Portrait. 

Hague. 

Gallery. 

Holy  Family. 
Birth  of  the  Virgin. 

Madrid. 

Gallery. 

Holy  Family. 

)) 

" 

Sleeping  Cupid. 
Lucre  tia. 

Milan. 

Br  era. 

Adoration  of  the  Shepherds. 

Munich. 

PiTiakotheJc 

Portrait  of  an  Old  Man. 

His  drawings  hold   high    rank   in   the    portfolios 
of    collectors.      There    are    also   some   wood   en- 
gravings,  marked   with  the  accompany- 
ing monogram,  which  are  ordinarily  attri- 
buted to  him ;  but  it  is  scarcely  possible 
that  he  did  more  than  furnish  the  design. 

CAMBIASO,  Obazio,  was  the  son  and  scholar  of 
Luca  Cambiaso,  whom  he  accompanied  to  Spain. 
After  the  death  of  his  father,  Philip  II.  continued 
to  employ  him,  and  settled  on  him  a  liberal  pension. 

CAMBON,  Charles  Antoine,  a  French  scene- 
painter,  was  born  in  Paris  in  1802.  He  was  a 
pupil  of  Ciceri,  and  acquired  much  celebrity  by  his 
theatrical  decorations,  many  of  which  were  real 
masterpieces.     He  died  in  Paris  in  1876. 

CAMDEN,  Sampson,  was  a  portrait  painter  who 
flourished  about  1540.  He  was  the  father  of 
William  Camden,  the  antiquary. 

CAMERATA,  Giuseppe,  an  Italian  miniature 
painter  and  engraver,  was  born  at  Frascati  or  at 
Venice  in  1718.  He  was  the  son  of  6.  Camerata, 
a  painter  of  some  reputation,  and  studied  under 
Gregorio  Lazzarini.  He  learnt  the  use  of  the 
graver  from  Giovanni  Cattini,  and  after  visiting 
Vienna  in  1742,  was  in  1751  invited  to  Dresden,  to 
assist  in  engraving  the  plates  for  the  Dresden 
Gallery,  and  was  there  made  principal  engraver  to 
the  Court.  He  visited  Italy  again  in  later  life,  and 
subsequently  came  to  Munich,  where  he  settled  for 
a  time  in  1763.  He  afterwards  became  professor 
in  the  Academy  at  Dresden,  where  he  died  in  1803. 
He  was  an  engraver  of  some  talent,  but  his  work 
is  not  considered  to  be  of  a  very  high  class.  We 
have  by  him  several  plates  from  his  own  designs, 
as  well  as  among  other  works  the  following : 

PORTRAITS. 

Marco  Foscarini,  Doge  of  Venice. 
Simone  Contarini,  Procurator  of  St.  Mark. 
Sebastiano  Bombelli,  the  painter. 

SUBJECTS  FROM  THE  DRESDEN  GALLERY. 
The  Parable  of  the  Talents  ;  after  Domenico  Feti. 
The  Parable  of  the  Lost  Piece  of  Silver  ;  after  the  sanie. 
The  Parable  of  the  Prodigal  Son  ;  after  the  same. 
David,  with  the  Head  of  Goliath ;  after  the  same. 
The  Infant  Bacchus  ;  after  the  same. 
The  Holy  Family  ;  after  Giulio  Cesare  Procaccini. 
St.  Eoch  succouring  the  Plague-stricken ;  after  Camilla 

Procaccini. 
St.  Eoch  distributing  Alms ;  after  Annibale  Carracci. 
The  Assumption  of  the  Virgin ;  after  the  same. 
The  Adulteress  before  Christ ;  after  B.  Biscaino. 
The  Chastity  of  Joseph  ;  after  S.  Cantarini. 
The  Old  and  New  Testament ;  after  A .  Vaccari. 
The  Magdalene  ;  after  Pompeo  Batoni. 
A  half-length  figure,  with  a  beard  ;  after  Dietrich. 
Another  half-length,  the  companion ;  after  the  same. 
The  Magdalene  ;  after  Van  der  Werf. 

CAMERINO,  GiROLAMO  (di  Giovanni)  di,  is 
generally  supposed  to  be  the  son  of  Giovanni  Boc- 
cati,  and  is  the  known  painter  of  an  altar-piece  at 
Santa  Maria  del  Pozzo  in  Monte  San  Martino,  near 
Fermo,  that  is  signed  and  dated  1473,  and  repre- 
sents the  '  Madonna  and  Child,  and  four  Angels, 
between  SS.  Thomas  and  Cyprian.' 

237 


A  BIOGRAPHICAL  DICTIONARY  OP 


CAMERINO,  Jacopo  da,  a  Franciscan  monk, 
who  assisted  Turrita  with  the  mosaics  in  the  church 
of  San  Giovanni  in  Laterano,  is  known  to  have 
worked  from  1288  to  1321.  His  compositions  are 
in  a  style  similar  to  that  of  Cimabue. 

CAMILO,  Feancisco,  was,  according  to  Palo- 
mino, the  son  of  Domenico  Camilo,  a  Florentine 
who  had  settled  in  Spain.  He  was  born  at  Madrid 
in  1610,  and  was  a  scholar  of  Pedro  de  Las  Cuevas, 
whom  his  widowed  mother  had  married.  He  proved 
a  reputable  painter  of  history,  particularly  in  his 
colouring-,  which  is  sweet  and  tender.  His  best 
work  is  '  The  Communion  of  St.  Mary  of  Egypt,' 
painted  for  the  high  altar  of  the  church  of  the 
Capuchin  convent  at  Alcala  de  Henares,  but  now 
in  the  Museo  Nacional  at  Madrid,  where  there  are 
hkewise  twelve  other  pictures  by  him.  Nearly 
equal  in  merit  are  his  '  St.  Charles  Borromeo,'  in 
the  church  of  the  Minorites  at  Salamanca,  and  his 
'  Descent  from  the  Cross,'  in  San  Justo  at  Segovia. 
But  his  most  celebrated  picture  is  the  '  Nuestra 
Senora  de  Belem,'  in  the  church  of  San  Juan  de 
Dios,  at  Madrid,  which  Palomino  emphatically  says 
is  "without  limit  in  perfection."  He  died  at  Ma- 
drid in  1671.  In  the  palace  of  Buen  Retiro  at 
Madrid,  are  his  portraits  of  the  Spanish  kings, 
and  fourteen  frescoes  representing  subjects  taken 
from  Ovid's  '  Metamorphoses.'  The  Hermitage  at 
St.  Petersburg  has  an  '  Assumption  of  the  Virgin ' 
by  him.  Francisco  Ignacio  was  the  best  of  his 
many  pupils. 

CAMINADE,  Alexandre  FuAKgois,  a  painter  of 
historical  subjects  and  portraits,  as  well  as  a  litho- 
grapher, was  born  in  Paris  in  1783.  He  studied 
in  the  schools  of  David  and  Mirimee,  and  visited 
Rome.  His  works  did  not  show  any  great  power, 
but  their  pleasing  colouring  and  correctness  of 
drawing  caused  them  to  meet  with  a  ready  recep- 
tion. There  are  many  examples  of  his  work  at 
Bordeaux,  and  at  Versailles,  where  he  died  in  1862. 

CAMLIGDE,  — ,  a  French  engraver,  unnoticed 
by  Basan,  flourished  towards  the  close  of  the  18th 
century.  He  engraved  the  plate  of  '  Le  Pari 
gagn6 '  in  R^tif  de  la  Bretonne's  '  Monument  du 
Costume,'  published  in  1789,  as  well  as  some  of 
the  plates  in  the  smaller  edition  of  the  same  work. 

CAMMAS,  Lambert  FRANgois  Th^rese,  a 
French  painter,  architect,  and  engineer,  was  born 
at  Toulouse  in  1743.  He  was  instructed  in  the 
rudiments  of  art  bj'  his  father,  Guillaume  Gammas, 
an  architect  of  repute,  who  designed  the  facade  of 
the  H6tel-de-Ville  at  Toulouse.  He  afterwards 
went  to  Rome,  where  in  1770  he  became  professor 
at  the  Academy  of  St.  Luke.  On  his  return  to 
France  he  protested  against  the  bad  taste  which 
had  disfigured  the  majestic  outlines  of  the  noblest 
churches  with  mean  and  ridiculous  ornaments,  and 
made  numerous  designs  for  the  restoration  of  al- 
most all  the  religious  edifices  of  the  city  of  Tou- 
louse. Gammas  died  in  that  city  in  1804.  His 
picture  representing  '  Louis  XVI.  recalling  the 
Parliaments  exiled  during  the  reign  of  Louis  XV.' 
is  in  the  Museum  of  his  native  city. 

GAMPAGNOLA,  Domenico,  was  bom  at  Padua 
about  1482,  and  worked  there  in  the  earlier  half  of 
of  the  16th  century.  Brought  up  in  the  school  of 
Titian,  Domenico  soon  attained  a  proficiency  that 
even  roused  the  jealousy  of  his  master.  At  Padua 
his  fresco  paintings  in  the  Scuola  del  Santo  lose 
little  of  their  merit  by  a  comparison  -with  the 
works  of  his  admirable  instructor,  and  in  his  oil 
pictures  in  the  Scuola  del  Carmine  he  sustains  the 

238 


contest  with  him  even  more  equally.  In  the  com- 
partments of  the  ceiling,  in  which  he  has  repre- 
sented the  Evangelists  and  other  Saints,  he  appears 
(says  Lanzi)  to  have  aspired  to  a  grandeur  above 
Titian,  and  to  have  drawn  the  nude  figure  with  a 
more  daring  and  unrestrained  outline.  An  'Adam 
and  Eve '  by  him  is  in  the  Pitti  Palace,  Florence. 
Ridolfi  speaks  highly  of  his  merit  as  a  painter  of 
landscapes,  which  he  says  are  in  the  fine  style  of 
Titian,  and  little  inferior  to  tliose  of  that  master. 
A  large  number  of  them  have  been  engraved  by 
Comeille. 

Domenico  Campagnola  holds  an  eminent  rank  as 
an  engraver,  and  his  etchings  are  executed  in  a 
style  that  shows  the  hand  of  a  master.  The  follow- 
ing is  a  Ust  of  prints  by  him,  but  it  is  curious  that 
by  far  the  larger  part  of  them  bear  the  same  date, 
viz.,  1517;  on  some  is  seen  his  name  in  full,  on 
others  it  is  abbreviated  thus :  'DO.  DO. 

•CAP.  °^  -CAMP. 

Christ  healing  the  Sick  Man  at  the  Pool  of  Bethesda. 

The  Eesurrection  of  Christ. 

The  Descent  of  the  Holy  Spirit  on  the  day  of  Pentecost. 

The  Assumption  of  the  Virgin. 

The  Madonna  seated  with  the  Infant  in  her  arms  nnder 
a  Tree,  with  St.  Catharine  kneeling  on  her  left,  and 
a  graceful  Female  holding  a  Banner  on  her  right. 

The  Decollation  of  a  Female  Saint. 

A  Youth  in  a  standing  posture,  with  a  Reed  Pipe,  lean- 
ing against  a  Tree,  and  on  the  left  an  old  Man,  in 
the  habit  of  a  Warrior,  with  a  Dog  at  his  feet. 

A  Combat  of  naked  Men  on  Foot  and  on  Horseback,  in 
a  Wood. 

St.  Jerome  seated  naked  at  the  entrance  of  a  hnt,  with 
the  Lion  at  his  feet. 

Twelve  Children  dancing.  The  design  of  this  piece  is 
attributed  by  Passavant  to  Titian. 

There  also  exist  a  few  woodcuts  which  bear  the 
name  of  Domenico  Campagnola. 

GAMPAGNOLA,  Gicxio,  a  painter  and  engraver, 
was  born  at  Padua  in  1481.  He  exceDed  in  minia- 
ture, and  also  painted  pictures  in  oil  tliat  ap- 
proached the  modern  style.  We  have  by  this 
artist  a  fine  plate  after  Giovanni  Bellini,  repre- 
senting '  St.  John  the  Baprist  holding  a  Cup.'  It 
is  deserving  of  remark  that  this  print  is  engraved 
in  a  peculiar  manner  for  the  time.  The  back- 
ground is  expressed  by  dots,  apparently  executed 
with  a  punch,  and  the  outline  of  the  figure  is  put 
in  with  a  deeply-engraved  stroke,  and  finished 
within  with  dots.  The  execution  of  this  plate 
affords  a  reasonable  presumption  that  this  style  of 
engraving,  known  as  op^is  mallei,  which  has  been 
generally  considered  of  modem  date,  is  of  some 
anriquity.  Among  other  plates  may  be  mentioned 
'  Ganymede,'  engraved  in  the  manner  of  Marc- 
Antonio,  and  two  others  executed  with  extra- 
ordinary minuteness  and  care,  viz., '  An  aged  Shep- 
herd, reclining,  holding  a  flute,'  and  '  The  Astrolo- 
ger '  (1509).  Another  specimen,  executed  ■with  the 
dry  point,  represents  a  nude  female  reclining  on  a 
bank  beneath  some  foliage,  and  recalls  the  style 
of  Giorgione.  Bartsch  and  Passavant  together 
enumerate  sixteen  engravings  by  Giulio  Campag- 
nola, most  of  which  are  from  the  designs  of  the 
great  masters  of  the  Venetian  school,  especially 
Giovanni  Belhni  and  Giorgione.  This  artist  has 
been  the  subject  of  much  discussion,  and  some 
acrimonious  controversy.  See  Zani's  'Enciclopedia,' 
part  I.  vol.  V. ,  Ottley"s  '  Inquiry  into  the  Origin 
and  Early  History  of  Engraving,'  Passavant's 
'  Peintre-Graveur,'  v.  162— 167,  and  Galichon's  Life 
of  him  published  in  1862. 

CAMPAGNOLA,  J.  J.,  is  thought  by  Passavant 


PAINTERS  AND  ENGRAVERS. 


to  be  the  name  of  the  master  by  whom  we  have 
two  engravings  marked  /.  I.  CA.  They  represent 
'  The  Nativity  '  and  '  St.  Ottilia,'  the  latter,  which 
is  somewhat  in  the  style  of  Benedetto  Montagna, 
having  the  monogram  reversed.  He  flourished 
early  in  the  16th  century,  and  was  possibly  of  the 
same  family  as  Domenico  and  Giulio  Campagnola ; 
but  while  they  belonged  to  the  Venetian  school,  his 
style  is  that  of  the  school  of  Padua  as  formed  by 
Mantegna. 

CAMPALASTRO,  Lodovico,  was  a  painter  of 
Ferrara,  in  which  city  there  are  several  of  his 
works :  in  the  church  of  San  Crispino,  '  The  Na- 
tivity,' '  The  Repose  in  Egypt,'  and  '  The  Adoration 
of  the  Magi ; '  and  in  San  Lorenzo,  '  St.  Francis  of 
Assisi.' 

CAMPAS'A,  Pedro.  See  De  Kempeneeb,  Pieter. 

CAMPANA,  PlETBO,  an  Italian  engraver,  was 
born  at  Soria  in  1727.  He  learned  the  use  of  the 
graver  from  Rocco  Pozzi,  and  lived  the  greater 
part  of  his  life  at  Rome  and  Venice.  He  died  in 
1765.     We  have  the  following  prints  by  him : 

St.  Francis  of  Paola ;  after  Seb.  Conca. 

St.  Peter  delivered  from  Prison ;  after  Mat.  Freti. 

Portrait  of  Pietro  da  Oortona ;  from  a  picture  in  the 

Florence  Gallery. 
Portrait  of  Bernardino  Barbatelli,  caUed  Poccetti. 

CAMPANA,  ToMMASO,  was  a  Bolognese  painter 
who  flourished  between  1620  and  1640.  He  was 
originally  a  pupil  of  the  Carracci,  but  afterwards 
followed  the  style  of  Guido  Reni.  In  the  church 
of  San  Michele  in  Bosco,  at  Bologna,  are  two 
paintings  by  him  representing  scenes  from  the  life 
of  St.  GecOia. 

CAMPANELLA,  Agostino,  was  a  native  of 
Florence,  who  flourished  about  the  year  1770.  He 
engraved  several  plates  representing  historical  and 
Biblical  subjects.  They  are  executed  with  the 
graver  in  a  neat  style,  but  the  drawing  is  not  very 
correct. 

CAMPANELLA,  Angelo,  born  at  Rome  about 
the  year  1748,  was  a  painter  and  engraver,  and 
studied  art  under  Volpato.  He  engraved  the 
statues  of  the  twelve  apostles  which  are  in  the 
church  of  St.  John  Lateran ;  and  some  of  the 
plates  for  Gavin  Hamilton's  '  Sohola  Italica,'  one  of 
which  is  '  The  Presentation  in  the  Temple,'  after 
Fra  Bartolommeo.  He  died  about  the  year  1815. 
Others  of  liis  engravings  are  : 

Christ  with  the  Disciples  at  Emmaus  ;  after  Raphael, 
The  Massacre  of  the  Innocents ;  after  the  saine. 
Psyche  and  Cupid ;  after  the  same. 

CAMPBELL,  Charles  William,  an  English 
engraver  in  mezzotint,  was  born  at  Tottenham, 
July  13,  1855.  In  1870  he  entered  the  office  of  his 
father,  an  architect  and  surveyor,  and  stayed  there 
until  1878.  In  the  meanwhile  be  studied  Ruskin 
and  practised  drawing  so  far  as  his  means  and 
leisure  would  allow  him.  Finally  he  was  intrusted 
by  Mr.  Burne-Jones  with  his  picture  of  the  '  Birth 
of  Galatea,'  to  be  scraped  in  mezzotint.  The  plate 
was  published  early  in  1886,  and  was  followed  by 
an  '  Ophelia,'  from  his  own  design,  and  '  Pan  and 
Psyche,'  again  after  Burne-Jones.  All  three  were 
pure  mezzotint,  without  adulteration  by  any  other 
process.  Campbell  also  scraped  a  mezzotint  of 
Miss  Ellen  Terry  from  life,  and  at  his  premature 
death,  which  occurred  on  May  31, 1887,  left  several 
plates  in  various  stages  of  completion. 

CAMPBELL,  J.,  was  probably  a  native  of  Scot- 
land.    He  flourished  about  the  year  1754,  and  en- 


graved a  few  plates  after  Rembrandt,  in  which  he 
imitated  the  style  of  that  master  with  considerable 
success. 

CAMPER,  Petrus,  born  at  Leyden  in  1722,  was 
a  celebrated  professor  of  anatomy  and  surgery,  and 
an  amateur  painter.  He  succeeded  in  copying  the 
works  of  Carlo  Lotti  and  other  Italian  masters,  as 
also  those  of  Honthorst.  He  took  lessons  from 
Karel  de  Moor,  and  produced  some  cabinet  pictures 
in  the  manner  of  that  master ;  but  most  of  his 
productions  have  the  marks  of  imitation  rather 
than  originality.  He  published  a  work  very  useful 
to  young  students  in  painting.  He  produced  also 
a  few  etchings,  and  displayed  a  good  deal  of  talent 
in  the  application  of  his  knowledge  of  drawing  to 
the  purposes  of  his  profession.  He  died  at  the 
Hague  in  1789. 

CAMPHUYSEN,  Dirk  Raphaelsz.  who  was  born 
at  Gorcum  in  1586,  is  recorded  as  a  painter  of  land- 
scapes with  wild  animals,  ruins,  and  cottage  in- 
teriors. Yet  some  authorities  say  that  he  never 
practised  the  art  of  painting,  and  that  works  cata- 
logued as  his  are  by  his  son  Govaert  Camphuysen. 
Two  moon-light  subjects,  in  the  style  of  Van  der 
Neer,  in  the  Dresden  Gallery,  signed  R.  Camp- 
HtrrsEN,  are  given  in  the  catalogue  to  Dirk 
Raphaelsz :  but  it  is  more  probable  that  they  are 
by  the  hand  of  Raphael  CAMPHnrsEN,  a  brother 
of  Dirk,  who  was  bom  in  1598.  Dirk  Camphuysen 
died  at  Dokkum  in  1627. 

CAMPHUYSEN,  Govaert,  who  was  born  at 
Gorcum  in  1624,  made  a  citizen  of  Amsterdam  in 
1650,  and  died  in  that  city  in  1674,  was  an  animal 
painter,  whose  style  was  influenced  by  Paulus 
Potter.  A  painting  in  the  Dulwich  Gallery  of 
'  Peasants  with  cows  before  a  cottage,'  with  a 
forged  signature  oi  Paulds  Potter,  is  attributed 
to  Camphuysen  ;  in  the  Rotterdam  Museum  is  a 
picture  of  '  Peasants  before  an  Inn,'  signed  G. 
Camphuijsen  ;  the  Brussels  Gallery  has  an  '  In- 
terior of  a  Farm,'  signed  with  his  name  and  dated 
1650;  and  a  painting  of  'Peasants  and  Cattle 
before  an  Inn '  in  the  Cassel  Gallery  is  also  attri- 
buted to  him.  In  the  Hermitage,  St.  Petersburg, 
are  two  Interiors  of  Cow-sheds,  both  bearing  his 
signature.  Govaert  Camphuysen's  works  are 
scarce ;  probably  some  of  them  are  known  as 
paintings  by  Paulus  Potter;  and  others  are  attri- 
buted to  his  father.  Dirk  Raphaelsz. 

CAMPI,  Cavaliere  Antonio,  the  son  of  Gale- 
azzo  Campi,  was  born  prior  to  1536.  He  was 
an  architect,  sculptor,  painter,  and  engraver.  He 
received  his  first  instructions  from  his  father,  and 
then  entered  his  brother  Giulio's  workshop.  He 
followed  the  style  of  Correggio,  and  painted  several 
frescoes  and  pictures  for  the  churches  of  Milan 
and  Cremona,  some  of  which  have  been  engraved 
by  Piccioni  and  Agostino  Carracci.  He  and  his 
brother  Vincenzo  Campi  went  to  Spain  in  1583, 
and  painted  for  Philip  II.  at  the  Escorial.  He  also 
wrote  a  '  History  of  Cremona,'  for  which  he  en- 
graved the  topographical  plan.  He  died  about 
1591.  A  'St.  Jerome'  painted  by  him  for  Philip 
II.  is  in  the  Madrid  Gallery,  and  in  the  Brera  at 
Milan  is  a  '  Madonna  and  Child,'  which  was  formerly 
in  Santa  Barbara  in  that  city. 

CAMPI,  Bernardino,  was  born  at  Cremona  in 
1522,  and  was  probably  a  member  of  the  Campi 
family,  whose  works  are  often  met  with  in  the 
churches  of  Lombardy.  He  was  intended  for  the 
profession  of  a  goldsmith,  but  on  seeing  the  copies 
of  two  of  the  tapestries  designed  by  Raphael,  which 

239 


A  BIOGRAPHICAL  DICTIONARY  OF 


had  been  copied  by  Giulio  Campi,  he  determined  to 
change  his  pursuit,  and  to  study  painting  under  his 
relative.  He  remained  with  Giulio  some  time,  but 
afterwards  went  to  Mantua,  where  he  frequented 
the  school  of  Ippolito  Costa.  Before  he  had 
reached  his  twentieth  year  he  had  already  exhibited 
considerable  pre-eminence  in  art.  He  studied  the 
works  of  Giulio  Romano,  Titian,  Correggio,  and 
Raphael,  and  aimed  at  combining  the  individual  ex- 
cellences of  those  masters  in  a  stj'le  of  his  own. 
His  great  work  in  the  cupola  of  San  Sigismondo 
bears  evident  trace  of  his  having  greatly  profited 
by  his  acquaintance  with  the  works  of  Correggio. 
He  has  here  represented  the  assemblage  of  the 
saints  and  blessed  of  the  Old  and  New  Testament, 
each  with  their  appropriate  symbols.  This  work 
is  of  stupendous  dimensions,  and  though  the 
figures  are  seven  braccia  in  height,  such  is  his 
judicious  management  of  the  point  of  view  that 
they  only  appear  to  be  the  size  of  nature.  He 
completed  this  great  work  in  the  surprisingly  short 
period  of  seven  months.  Other  examples  of  his 
work  are  to  be  seen  at  Milan,  Pavia,  and  Piacenza. 
In  1584  he  published  a  work  on  painting.  He 
had  several  pupils,  among  whom  was  Sofonisba 
Anguisciola.  He  died  at  Reggio  about  1592,  and 
was^buried  in  the  church  of  San  Prospero,  where 
he  left  some  unfinished  frescoes.  The  following  of 
his  paintings  are  preserved : 

Cremona.  S.  Sigismondo.  St.  Cecilia ;  St.  Catharine ;  the 
Prophets  ;   Children  — frescoes 
{cupola  of  choir). 
„       S.  Domenico.     The  Nativity. 
Milan.      Brera.  Descent  from  the  Cross. 

Paris.       louvre.  Mater  Dolorosa. 

CAMPI,  Gat.kazzo,  was  born  at  Cremona  about 
1475,  and  died  there  in  1536.  He  appears  to  have 
been  a  pupil  of  Boccaccino.  Paintings  by  him  are 
to  be  found  in  the  churches  of  San  Sigismondo,  San 
Sebastian  0,  and  Sant'  Agata,  in  Cremona.  A  curi- 
ous painting  dated  by  him  1515,  and  representing 
'  The  Resurrection  of  Lazarus,'  with  Christ  and  the 
apostles  Peter  and  Paul  on  one  side  of  the  grave, 
whilst  Lazarus  the  beggar  \vith  two  dogs  stands 
on  the  other  side,  and  formerly  in  the  church  of 
San  Lazzaro,  Cremona,  is  now  in  the  possession 
of  Canon  Bignami,  at  Castel  Maggiore.  His  are 
also  : 
Cremona.    Palazzo.       Christ  in  Benediction. 

„  Municipio.  Virgin    and    Child,    with    three 

Saints. 
Florence.     Gallery.       TTis  own  Portrait. 

CAMPI,  Giulio,  the  eldest  son  of  Galeazzo 
Campi,  was  bom  at  Cremona  in  1500.  In  1522  he 
was  studying  under  Giulio  Romano  at  Mantua  as 
an  architect  and  modeller,  but  he  afterwards  studied 
painting  from  the  various  old  masters.  His  earliest 
work  in  Cremona  was  four  large  pictures  repre- 
senting '  The  Martyrdom  of  St.  Agatha,'  which 
are  in  the  church  of  Sant'  Agata.  He  next 
painted  for  the  high  altar  of  the  church  of  San 
Sigismondo,  outside  Cremona,  a  votive  altar-piece, 
representing  'The  Virgin  and  Child,  with  Saints,' 
and  the  figures  of  Count  Francesco  Sforza  and 
Bianca  Maria  Visconti.  This  picture  has  been  en- 
graved by  Ghisi.  In  1527  he  painted  the  altar- 
piece  of  '  The  Virgin  and  Child,  with  SS.  Celsus  and 
Nazarus,'  for  the  church  of  Sant'  Abbondio.  This  is 
his  finest  work,  and  is  characterized  by  a  faithful 
rendering  of  the  colouring  of  the  Venetian  school. 
He  decorated  the  council-chamber  of  Brescia  with 
eight  large  frescoes  representing  '  The  Labours  of 

240 


Hercules,'  which  have  likewise  been  engraved  by 
Ghisi.  His  constant  aim  seems  to  have  been  to 
secure  a  free  handling  in  his  drawing,  a  principle 
he  learnt  from  Giulio  Romano,  and  to  combine 
with  it  the  feeling  of  Correggio  and  the  colouring 
of  Titian  and  Pordenone.  Milan,  Cremona,  and 
Mantua,  all  possess  paintings  by  him.  He  died  in 
1572.     Noticeable  among  his  works  are  : 

Cremona.  S.  Margherita.  Several  altar-pieces  and  frescoes. 

„       S.  Sigismondo.  Descent  from  the  Cross. 
Mantua.   S.  Girolamo.    The  frescoes  in  the  Cupola. 

CAMPI,  ViNCENZO,  the  third  son  of  Galeazzo 
Campi,  was  born  at  Cremona  before  1532,  and 
received  instruction  from  his  brother  Giulio.  He 
worked  constantly  in  conjunction  with  his  brothers, 
and  his  colouring  very  much  resembles  that  of 
those  artists,  but  his  design  was  much  poorer. 
One  of  his  best  performances  is  considered  to  be 
'  The  Descent  from  the  Cross,'  in  the  cathedral 
at  Cremona,  but  his  chief  merit  was  in  painting 
portraits  and  still-life.  In  1583  he  joined  his 
brother  Antonio  in  a  visit  to  Spain,  where  they 
both  worked  for  Philip  II.  at  the  Escorial.  His 
death  occurred  in  1591.  Two  pictures  by  him — 
one  a  Woman  with  fish,  the  other  a  Woman  with 
fruit — are  in  the  Brera  at  Milan. 

CAMPIDOGLIO,  II.   See  Pace,  Michelangelo. 

CAMPIGLIA,  Giovanni  Domenico,  an  Italian 
painter  and  engraver,  was  born  at  Lucca  in  1692. 
He  studied  at  Florence  under  Tommaso  Redi  and 
Lorenzo  del  Moro,  and  at  Bologna  attended  the 
school  of  Gioseffo  dal  Sole.  He  painted  some  his- 
torical subjects  at  Florence,  and  several  portraits, 
among  which  was  his  own,  which  is  placed  in  the 
Gallery.  He  particularly  excelled  in  drawing  after 
the  antique  marbles,  and  was  much  employed  at 
Rome  and  Florence  in  making  drawings  for  the 
engravers.  According  to  Nagler  he  died  in  1768. 
He  etched  several  plates  after  his  own  designs, 
and  among  others  the  following  portraits  of 
artists  : 

Giovanni  Domenico  CampigUa. 
Giovanni  I/^renzo  Bernini. 
Giulio  Romano. 
Salvator  Kosa. 
Leonardo  da  Vinci. 
Giovanni  Antonio  Bazzi. 

CAMPILIDS,  Bernardino,  was  a  very  inferior 
follower  of  Lo  Spagna  at  Spoleto.  His  name  is 
written  beneath  a  ftesco  of  '  The  Virgin  adoring  the 
Infant,'  on  the  Piazza  San  Gregorio,  at  Spoleto,  and 
bears  the  date  of  1502.  No  further  information 
can  be  given  of  his  birth  or  death. 

CAMPIN,  Robert,  1375— April  26,  1444.    It  is 
not  known  where  he  was  born  or  where  he  learned 
his  art,  but  he  was  already  a  free  master  in  1406, 
in  which  year  he  painted  a  picture  for  the  widow 
of  the  sculptor  James  Braibant.     He  acquired  the 
right  of  citizenship  by  purchase  on  December  29, 
1410.     His  wife,  Elisabeth  de  Stochem,  was  seven  I 
years  his  senior.     His  conduct  was  by  no  means 
edifying.     In  1428  he  was  fined  20J.,  sentenced  to  I 
make  a  pilgrimage  to  Saint  Giles,  and  debarred] 
from  holding  any  civic  oflBce.     In  July  1432  hej 
was  banished  from  the  city  for  a  year  on  accoantl 
of  his  dissolute  life,  but   at  the   intercession  or 
Jaoqualine  of  Bavaria,  Countess  of  Hainault,  this! 
was  on  October  26  commuted  to  a  fine  of  50».l 
Notwithstanding  all  this,  he  was  constantly  em-j 
ployed  by  the  municipal  authorities  on  mural  and  1 
decorative   paintings.     In    1428    he    executed    •  1 


PAINTERS  AND  ENGRAVERS. 


painting  in  oil-colours  and  gold  with  the  figures 
of  Saint  Piat,  Saint  Eleutherius,  the  King,  Queen, 
and  Dauphin  and  others.  In  1438  he  drew 
cartoons  for  mural  paintings,  representing  episodes 
in  the  life  of  Saint  Peter  ;  he  was  paid  8s. 
for  these  designs,  which  were  executed  by  Henry 
de  Beaumetiel  in  the  chapel  of  Saint  Peter. 
Campin  was  the  master  of  two  celebrated  painters : 
Roger  De  la  Pasture  (van  der  Weyden)  and  James 
Daret.  No  painting  can  be  attributed  to  him 
with  certainty,  but  he  was  probably  the  painter  of 
a  panel  representing  the  blossoming  of  Saint 
Joseph's  rod,  and  the  marriage  of  the  B.  Virgin  in 
the  Prado  Museum,  Madrid.  W.  H.  J.  W. 

CAMPING,  Giovanni,  was  born  at  Camerino 
about  1590.  He  constitutes  a  remarkable,  if  not  a 
solitary,  instance  of  an  Italian  going  out  of  his 
own  country  to  study  painting.  Sandrart,  however, 
assures  us  that  he  went  to  Antwerp,  and  placed 
himself  under  Abraham  Janssens,  with  whom  he 
remained  some  years,  then  returned  to  Italy  and 
studied  the  works  of  Caravaggio,  whose  style  of 
painting  greatly  resembled  that  of  his  Flemish 
instructor.  He  painted  some  pictures  at  Rome 
with  sufficient  success  to  procure  him  an  invitation 
to  the  Spanish  Court,  where  he  was  employed  by 
the  king.     He  died  there  in  1650. 

CAMPION,  Chaeles  Michel,  a  French  amateur 
by  whom  we  have  several  plates,  was  born  at  Mar- 
seilles in  1734,  and  died  there  in  1784.  Some  of 
his  plates  are  executed  with  the  graver,  and  some 
are  etched  ;  amongst  them  are  the  following : 

Aignan  Thomas  Desfriches ;  after  Cochin. 

Francois  de  Regny ;  after  the  same. 

Cardinal  Commandon  ;  C.  C. 

M.  de  St.  Amand ;  after  Mile.  Loir. 

Madame  de  Guillonville. 

The  Four  Seasons ;  after  Desfriches. 

Views  of  the  Harbour  and  Town  of  Autibes. 

View  of  Meung-sur-Loire. 

Views  on  the  banks  of  the  Loire. 

Views  on  the  banks  of  the  Loiret. 

CAMPION,  Charles  Philippe,  Abbe  de  Tersan, 
brother  of  Charles  Michel  Campion,  was  born  at 
Marseilles  in  1736.  He  engraved  several  portraits 
of  no  great  merit,  and  formed  a  large  collection 
of  books,  prints,  medals,  and  antiquities,  which 
were  sold  after  his  death,  which  occurred  at  Paris 
in  1819.  Among  his  engravings  may  be  mentioned 
two  portraits  of  Montesquieu,  and  those  of  N.  de 
Verri,  Sauveur-Morand,  Alexis  Clairaut,  the  mathe- 
matician, and  the  Cardinal  Prince  Louis  de  Rohan. 

CAMPION,  George  B.,  a  water-colour  land- 
scape painter,  was  one  of  the  earliest  members  of 
the  Institute  of  Water-Colour  Painters,  having 
been  elected  in  1837,  and  was  a  frequent  con- 
tributor to  the  exhibitions  of  that  society.  '  Olden 
Times'  and  'Gathering  Orach,'  both  exhibited 
at  the  Institute  in  1869,  are  fair  specimens  of  his 
art.  He  was  for  some  time  drawing-master  at 
the  Military  Academy,  Woolwich  ;  but  afterwards 
retired  to  Munich,  where  he  died  in  1870,  at  the 
age  of  74.  He  was  the  author  of  '  The  Adven- 
tures of  a  Chamois  Hunter,'  and  he  also  wrote 
some  notes  on  German  art  for  the  '  Art  JournaL' 

CAMPIONE,  IsiDORO  DA.     See  Bianchi. 

CAMPO,  Juan,  a  Spanish  painter,  was  born  of 
humble  parentage  at  Ita  in  1530.  After  enduring 
great  privation  he  journeyed  to  Toledo,  and  solicited 
permission  to  enter  the  studio  of  Francisco  de 
Comontes,  where  he  made  good  progress.  One  day 
Don  Geronimo  de  Corella,  who  had  been  appointed 
B 


Bishop  of  Comayagua  in  Central  America,  visited 
the  studio  of  Comontes,  and  in  the  master's  absence 
was  received  by  the  pupil,  who  confidentially  told 
the  prelate  that  on  account  of  his  debts  he  should  be 
obliged  to  leave  the  country  or  go  to  prison.  The 
bishop  thereupon  offered  to  take  the  painter  with 
him  to  America  to  decorate  the  churches,  only  upon 
the  condition  that  he  should,  when  able,  pay  his 
debts.  Campo  left  Spain  in  1557,  and  appears  to 
have  painted  a  considerable  number  of  works, 
which  have  been  highly  praised  by  travellers,  but 
are  totally  unknown  in  Europe.  In  less  than 
twenty  years  he  had  paid  all  his  creditors  and 
acquired  a  small  fortune,  with  which  he  was  about 
to  return  to  his  native  country,  when  he  was 
attacked  by  sudden  illness,  from  which  he  died. 
His  early  works,  which  may  be  seen  in  Spain,  are 
imaginative  in  design,  but  weak  in  colour. 

CAMPOLARGO,  Pedro  de,  was  a  Spanish  painter 
of  some  repute  in  Seville  in  1660,  whose  engrav- 
ings are  held  in  higher  estimation  than  are  his 
paintings. 

CAMPOLO,  Placido,  according  to  Hackert,  in 
his  '  Meraorie  de'  Pittori  Messinesi,'  was  born  at 
Messina  in  1693.  He  studied  at  Rome  under 
Sebastiano  Conca,  where  he  was  more  indebted  for 
his  advancement  to  his  designs  from  the  antique 
marbles,  and  his  contemplation  of  the  works  of 
Raphael,  than  to  the  precepts  of  his  instructor. 
On  his  return  to  Sicily  he  distinguished  himself  as 
a  historical  painter,  particularly  in  fresco.  One 
of  his  principal  works  is  the  ceiling  of  the  GaUeria 
del  Senate,  at  Messina,  which  is  admired  for  the 
ingenuity  of  the  composition  and  the  correctness 
of  the  design.  He  died  of  the  plague  in  the  fatal 
year  1743. 

CAMPROBIN,  Pift)RO  de,  was  a  Spanish  painter 
of  animals,  fruit,  and  flowers,  who  flourished  at 
Seville  about  1660.  His  flower-pieces  are  to  be 
seen  in  several  churches  in  Andalusia  ;  those  which 
he  considered  his  best  are  signed  Pedro  de  Camp- 
robin  Pasano  fecit. 

CAMRADT,  JoHAN  Ludvig,  who  was  bom  at 
Copenhagen  in  1779,  and  died  at  Hillerod  in  1849, 
painted  fl-ower-pieces. 

CAMUCCINI,  ViNCENZO,  a  historical  painter, 
was  bom  at  Rome  in  1773.  He  received  his  first 
instruction  from  his  brother  Pietro,  who  was  a  re- 
storer of  pictures,  and  also  from  Borubelli,  an 
engraver  of  moderate  ability ;  but  he  afterwards 
became  a  pupil  of  Corvi,  and  for  some  years  devoted 
himself  to  the  study  of  Andrea  del  Sarto,  Raphael, 
Domenichino,  and  other  great  masters.  _  When 
twenty-four  years  of  age  he  produced  his  great 
picture  of  '  The  Death  of  Cassar,'  which  was  much 
admired.  Soon  afterwards,  the  arrival  at  Rome 
of  the  great  French  artist  David  excited  Camuc- 
cini's  emulation,  and  he  undertook  to  produce  a 
series  of  pictures  on  subjects  taken  from  the 
history  of  ancient  Rome,  and  painted  in  the 
classic  manner.     Among  these  were  : 

Horatius  Codes. 

The  Departure  of  Kegulus  for  Carthage. 

The  Continence  of  Scipio  {in  the  Palazzo  Reale,  Naples), 

The  Death  of  Virginia.      (     „  „  „         „      ). 

The  Death  of  Caesar.         (    „  „  „        „     ). 

He  also  painted : 
The  Incredulity  of  St.  Thomas  {in  mosaic,  in  St.  Peter's, 

at  Rome). 
The  Presentation  in  the  Temple  {in  San  Giovanni,  at 

Piacenza;  esteemed  one  of  his  finest  works). 
The  Death  of  the  Magdalen. 

The  Entombment  {painted for  Charles  IV.  cf  Spain). 

241 


A  BIOGRAPHICAL  DICTIONARY  OF 


The  Apparition  of  Christ  in  limbo  (painted  in  1829  for 

the  Association  of  the  patriotic  Friends  of  Art  of 

Prague). 
Mission  of  the  Benedictine  Monks  to  England.     1833. 
The  Conversion  of  St.  Paul  (a  colossal  picture  exeeutea 

in  1834 /or  the  Basilica  of  San  Paolo  fuori  le  Mura 

at  Some). 

These  serious  subjects  he  diversified  with  a 
'Betrothal  of  Psyche,'  and,  jointly  with  Landi, 
he  painted,  in  fresco,  the  ceiling  of  the  Torlonia 
Palace.  As  regards  composition  and  design, 
Camuccini  in  these  works  is  considered  by  his 
fellow-countrymen  to  have  been  entitled  to  stand 
in  comparison  with  the  great  masters  of  painting 
of  the  later  period  of  the  Revival ;  but  in  colouring 
he  is  admitted  to  have  been  very  deficient.  As  a 
portrait  painter  he  attained  considerable  eminence  ; 
amongst  the  best  he  produced  are  those  of 

Pope  Pins  Til.  (now  in  the  Gallery  at  Vienna). 

The  Duke  de  Blacas,  Ambassador  from  France  at  Rome. 

The  King  of  Naples,  and  the  Queen  of  Naples. 

The  Countess  Schouvaloff,  and  the  Countess  von  Die- 
trichstein.    1829. 

Several  of  his  works  have  been  engraved  by 
Bettelini,  and  some  have  been  lithographed  by 
Scudellari,  and  published  under  the  title  of  'I  Fasti 
principali  della  Vita  di  Gesii  Cristo,'  with  text  in 
Italian  and  French,  at  Rome,  in  1829.  Camuccini 
•was  appointed  inspector-general  of  the  Musevmis 
of  the  Pope,  and  of  the  Factory  of  Mosaics,  and 
director  of  the  Neapolitan  Academy  of  Rome.  He 
was  a  member  of  the  Institute  of  France,  and 
during  some  years  president  of  the  Academy  of 
St.  Luke.  Pope  Pius  VII.  conferred  upon  him 
the  title  of  Baron,  with  hereditary  succession,  and 
the  Emperor  Francis  I.  the  order  of  the  Iron 
Crown.  He  died  at  Rome  in  1844.  But  it  was 
not  merelj'  as  an  artist  that  Camuccini  was  distin- 
guished. Recognized  as  a  man  of  superior  taste, 
and  having  amassed  a  considerable  property,  he 
expended  no  small  portion  of  his  wealth  in  the 
purchase  of  a  fine  collection  of  pictures  and  other 
objects  of  art.  On  this  collection  coming  to  be 
sold,  in  1856,  the  greater  portion  of  the  pictures, 
upwards  of  seventy  in  number,  were  purchased  by 
the  Duke  of  Northumberland,  who  removed  them 
to  Alnwick  Castle.  They  consist  principally  of 
the  works  of  the  Italian  masters  living  in  the 
16th  and  17th  centuries,  with  some  specimens  of 
an  earlier  date,  and  a  few  others  of  the  Dutch 
and  Flemish  painters  of  the  17th  century.  One 
by  Raphael,  known  as  'The  Madonna  with  the 
Pink,'  is  the  most  noted  of  them. 

CAMULIO,  Bartolomjieo  di,  flourished  at 
Genoa  in  the  middle  of  the  14th  century.  A 
Madonna  painted  by  him,  in  the  year  1340,  i8  in 
the  Palermo  Gallery. 

CAMUS.     See  Duval  le  Caiius. 

CANAL,  Antonio,  commonly  called  Canaletto, 
was  bom  at  Venice  in  1697.  He  was  the  pupil  of 
his  father,  Bernardo  Canal,  who  was  a  decorator  and 
scene  painter.  Antonio  first  confined  his  atten- 
tion to  theatrical  decorations,  but  in  1719  went 
to  Rome,  where  he  spent  some  time  in  drawing 
and  copying  the  antiquities  of  that  city  and  its 
vicinity.  Returning  to  his  birthplace,  he  exclus- 
ively occupied  himself  in  producing  views  of 
Venice,  which  for  their  great  truth  to  nature,  and 
for  their  extraordinary  effect,  perspective,  and 
colour,  met  with  an  immense  success,  and  are  still 
most  highly  esteemed.  The  figures  in  his  views 
are  almost  all  painted  by  Giovanni  Battista  Tie- 
polo.     In  1746  Canaletto  visited  London,  and  re- 

242 


mained  two  years,  during  which  time  he  painted 
many  of  its  most  striking  views.  It  is  com- 
monly thought  that  he  was  the  first  artist  who 
used  the  camera  lucida  for  his  pictures.  The  prin- 
cipal public  and  private  galleries  of  Europe  possess 
examples  by  this  master ;  but  his  works  must  not 
be  confounded  with  those  of  his  nephew,  Bernardo 
Bellotto,  who  is  also  called  Canaletto.  His  finest 
works  are  at  Berlin,  Dresden,  London,  Munich, 
Paris,  and  Vienna.  Many  of  Antonio's  paintings 
have  been  engraved  by  Vicentino,  and  he  himself 
has  etched  thirty-one  plates  of  '  Views  in  Venice.' 
His  death  occurred  in  that  city  in  1768.  The 
following  are  his  principal  works : 
Bergamo.  Ae.  Carrara.  A  View  of  Venice. 
Berlin.  Gallery,        View  of  Santa  Maria  della  Salute, 

Venice. 
„  „  View    of    the    Doge's     Palace, 

Venice. 
„  „  View  of  the  Dogana,  Venice. 

Darmstadt.  Gallery.        Venetian  Scene. 
Dresden.       Gallery.         Views  in  Venice  {six). 
Florence.      Uffizi.  The  Ducal  Palace,  Venice. 

„  „  The  Rial  to,  Venice. 

Frankfort.  Stdkel  Coll.   Venetian  Scenes. 
Hampton  Ct.  Palace.       The  Colosseum  at  Rome. 
Isleworth.  Syon  House.    View  of  Northumberland  House. 
London.       X^ai.  Gall.     View  in  Venice. 

,^  „  The  Grand  Canal,  Venice. 

,1  „  The  Scuola  di  San  Rocco  (with 

figures  by  Tiepolo). 
„  „  Regatta  on  the  Grand  Canal. 

„  „  The  Piazzetta  of  St.  Mark,  Venice, 

from  the  Quay. 
London.       X'at.  Gall.    Ducal  Palace  and  Column  of  St 
Mark,  Venice. 
„  „  Eton  College.    1746. 

„  „  On  the  Canal  Reggio,  Venice. 

„  „  San  Pietro  di  Castellu,  Venice. 

„  Soane  Mm.    View    on    the     Grand     Canal, 

Venice. 
„  Montagu  Ho.    View  of  "WTiitehall. 

„  Dudley  Ho.    View  in  Venice. 

„      Devonshire  Ho.    View  in  Venice. 
„  Wallace  Gall.   Twenty  pictures  by  him  and  his 

nephew,     the    Grand      Canal 
being  a  fine  and  notable  work 
by  Canale. 
Munich.      Pinalcoikeh.  Views  of  Venice. 
Naples.  Museum.   Twelve  Views  of  Venice. 

Paris.  Louvre.  View  of  Santa  Maria  della  Salute, 

Venice. 
Petersburg,  flermifcije.  Reception  of    Count    Gergi    at 
Venice. 
„  „  The  Marriage  of  the  Doge  with 

the  Adriatic. 
Rome.  Ae.  di  S.  Luca.  A  Scene. 
Turin.  Pinacoteca.  View  ia  Venice. 

Venice.        Accademia.   Portico  of  a  Palace. 

„       Museo  Correr.  The  Grand  Canal,  Venice. 
Vienna.  Gallery.  Views  of  the  Schottenkirche. 

f'>'l^Tl  Views  in  Venice. 
stein  Coll.  J 

Windsor.        Castle.       Two  Views  on  the  Thames. 

„  ,,  Views  in  Rome. 

CANALE,  Giuseppe,  an  Italian  designer  and 
engraver,  was  bom  at  Rome  in  1725.  He  was  in- 
structed in  engraving  by  Jacob  Frey,  and  also 
frequented  the  school  of  the  Cavaliere  Benefiale. 
In  1751  he  was  invited  to  Dresden  to  assist  in 
making  the  drawings  and  engraving  the  plates 
of  a  part  of  the  pictures  in  the  Gallery,  and  waa 
appointed  engraver  to  the  Court.  He  died  in  1802. 
We  have  by  him  the  following  prints : 

Maria  Mattia  Periui ;  after  M.  Benefale. 

Maria  Antonia.  Electress  Dowager  of  Saxony;  after  « 

draicing  by  the  Princess  herself.  _ 
Archbishop  Bonaventura  Barberini. 
Maria  Josephina,  Queen  of  Poland. 


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PAINTERS  AND  ENGRAVERS. 


Prince  Xavier  of  Saxony. 
I         The  sepulchral  Monument  of  Cardinal  Spinola. 
The  Philosopher  ;  after  Spagnoletto. 
The  Glory ;  after  Lomenichino, 
A  Sibyl ;  after  Angelica  Kauffmann. 
Paris  and  tenone ;  after  Van  Loo. 
Adam  and  Eve  driven  from  Paradise ;  after  Albam. 
Christ  and  St.  John ;  after  Van  der  Werf. 
Christ  appearing  to  St.  Thomas ;  after  Mat.  Freti ;  this 

plate  was  finished  by  Beaiwarlet. 
A  Turkish  Woman ;  after  Dietrich. 
Spring ;  after  the  same. 

CANALBTTO.   See  Bellotto,  and  Canal. 

CANDERRON,  Bernardino,  was  a  Spaniard 
who,  assisted  by  Fray  Felipe  and  Alonso  Vazquez, 
painted  a  missal  enriched  with  miniatures  in  six 
volumes  for  the  cathedral  of  Toledo.  This  work 
he  executed  between  1514  and  1618  by  order  of 
Cardinal  Ximenes.  It  is  considered  the  most  beau- 
tiful work  of  the  kind  ever  executed  in  Spain. 

CANDIDO,  Martino  di.     See  under  Tolmezzo. 

CANDIDO,  PiETRO,  (or  Pieter  Candid).  See 
De  Witte. 

CANE,  Carlo,  was  born  at  Gallarate,  a  small 
town  in  the  Milanese,  in  1618,  and  was  instructed 
by  Melchiore  Gilardini.  He  copied  the  works  of 
Morazzone  with  success,  and  became  a  historical 
painter  of  some  note,  particularly  in  fresco.  His 
best  works  are  '  St.  Ambrose '  and  '  St.  Hugo,' 
painted  in  fresco  in  the  Certosa  at  Padua.  He 
also  painted  landscapes  and  animals,  which  he 
touched  with  great  spirit.  He  died  at  Milan  in 
1688.  There  was  also  a  Carlo  Cane,  of  Trino, 
who  is  mentioned  by  Irico,  in  his  '  History  of 
Trino,'  as  having  painted  in  1600  two  altar-pieces 
for  the  Benedictine  abbey  of  Locedia. 

CANELLA,  GinsEPPE,  who  was  born  at  Verona 
in  1788,  was  a  painter  of  architectural  scenes  and 
sea-pieces ;  he  worked  at  Milan,  and  died  at  Flor- 
ence in  1847.     Amongst  his  best  productions  are : 

Views  of  Paris  and  the  Boulevards. 

The  Cathedral  at  Milan. 

The  Harbour  at  Honfleur. 

The  Church  of  Santa  Croce  in  Florence. 

New  Street  in  Venice. 

View  of  a  Village — mooplight  (in  the  Brera,  Milan).     . 

CANERIO,  Anselmo,  was  a  Veronese  painter 
who  flourished  between  1560  and  1575,  and  pro- 
duced a  number  of  works  in  oil  and  in  fresco  at  So- 
ranzo,  Castelfranco,  Vicenza,  and  Verona.  He  was 
a  follower  of  Paolo  Veronese.  There  is  a  frieze  of 
his  to  be  seen  in  the  palace  of  Count  Murani,  and 
a  '  Pharaoh's  Daughter '  in  Signer  Ridolfi's  mansion 
— both  at  Verona. 

CANETI,  Francesco  Antonio,  an  Italian  minia- 
ture painter,  bom  at  Cremona  in  1652,  was  a  pupil 
of  G.  B.  Natali.  He  afterwards  became  a  Capuchin 
monk,  and  died  in  1721. 

CANINI,  Giovanni  Angelo,  or  Giannangiolo, 
a  historical  painter,  was  born  at  Rome  in  1617. 
He  was  first  the  pupil  of  Domenichino,  and  after- 
wards of  Barbalonga.  He  was  received  into  the 
Academy  of  Rome  in  1650,  and  was  eventually 
appointed  Court  painter  to  Queen  Christina  of 
Sweden,  for  whom  he  executed  some  considerable 
works.  Though  possessed  of  much  talent  as  an 
artist,  he  devoted  more  of  his  time  to  archseology, 
and  published  two  works  on  that  subject.  There 
is  an  engraving  by  this  artist  of  Cardinal  Mazarin, 
touched  with  a  light  hand,  and  showing  much 
feeling  and  spirit.  Two  paintings  by  him  repre- 
senting the  martyrdoms  of  SS.  Steohen  and  Bar- 


tholomew are  in  the  church  of  San  Martino  ai 
Monti,  Rome.     He  died  in  Paris  in  1666. 

CANINI,  J.  B.  L.  MAES.     See  Maes  Canini. 

CANLASSI,  GuiDO,  commonly  known  as  II 
Cagnacci,  a  surname  given  to  him  on  account  of 
his  deformity,  was  a  painter  of  the  Bolognese  school, 
born  at  Castel  San  Arcangelo,  near  Rimini,  in  1601. 
He  was  a  pupil  of  Guido  Reni,  whose  style  he 
imitated  in  a  somewhat  too  methodical  manner ; 
still  his  work  was  careful,  and  has  something  of 
his  master's  delicacy.  He  worked  at  Rimini  and 
Bologna,  but  did  not  execute  many  paintings  in 
Italy,  as  he  went  in  early  life  to  the  Court  of  the 
Emperor  Leopold,  where  he  laboured  with  consider- 
able industry.  Beauvarlet,  Cunego,  Magalli,  and 
Prenner  have  engraved  after  his  works.  He  died 
at  Vierma  in  1681.  The  following  are  among  his 
extant  paintings : 


Cassel.          Gallery. 

Lucretia. 

Dresden.       Gallery. 

The  Penitent  Magdalen. 

Florence.      Uffizi. 

Jupiter  and  Ganymede. 

Fttti  Pal. 

The  Assumption  of  the  Magdalen 

Munich.     Pinakothek. 

The  Magdalen. 

,*                    ), 

Mater  Dolorosa. 

Paris.           Louvre. 

St.  John  the  Baptist. 

Petrsbrg.    Hermitage. 

The  Assumption  of  the  Magdalen 

Rome.  S.  Luca  Accad. 

Tarquin  and  Lucretia. 

„      Borghese  Pal. 

A  Sibyl. 

Vienna.           Gallery. 

Death  of  Cleopatra. 

,>                        *> 

Madonna  and  Child. 

„  Liechtenstein  Coll.  Jacob  and  Labaa. 

CANO,  Alonso,  a  Spanish  painter,  architect,  and 
sculptor,  was  born  at  Granada  in  1601.     He  ac- 

?uired  the  knowledge  of  architecture  from  his 
ather,  Miguel  Cano,  and  then  went  to  Seville, 
where  he  learned  sculpture  from  Juan  Martinez 
Montanez,  and  studied  painting  under  Pacheco  and 
Juan  del  Castillo.  In  1630  he  completed  the  altar- 
piece  which  his  father  had  commenced  at  Lebrija, 
where  his  statue  of  the  Virgin  and  Child  is  con- 
sidered a  masterpiece.  In  consequence  of  a 
quarrel  he  left  in  1637,  and  made  his  way  to 
Madrid,  where  he  was  employed  by  Count  Olivarez 
in  the  decorations  of  his  palace  ;  he  also  painted 
the  monument  for  the  Easter  Week  in  the  church 
of  St.  Giles,  and  the  triumphal  arch  erected  at 
the  solemn  entry  of  Maria  of  Austria  into  Madrid. 
In  1643  he  unsuccessfully  applied  for  the  post  of 
architect  to  the  cathedral  of  Toledo,  but  was  called 
upon  in  1650  to  direct  the  works  there.  In  that 
same  year  he  painted  for  the  church  of  Porta  Coeli 
in  Valencia  a  '  Nativity,'  '  Christ  scourged  at  the 
Pillar,'  and  a '  St.  John  the  Baptist.'  Although  since 
1647  steward  of  the  Brotherhood  of  Our  Lady  of 
Seven  Dolours  at  Madrid,  he  joined  a  religious 
order  in  Granada  in  1652,  in  order  to  devote  him- 
self more  entirely  to  his  art.  Although  he  had 
never  visited  Italy,  yet  his  style  had  a  noble,  clas- 
sical simplicity,  which  he  had  acquired  from  his 
careful  study  of  the  antiques  in  the  collection  of 
Count  Alcala  at  Seville.  His  sculptures  manifested 
a  strong  resemblance  by  their  energy  and  vigorous 
treatment  to  those  of  Michelangelo,  and  in  addi- 
tion a  most  extraordinary  grace  and  delicacy.  M 
a  painter  he  combined  clear  and  brilliant  colouring 
with  decision  in  drawing  and  great  power  of  ima- 
gination. He  died  at  Granada  in  1667.  Nearly 
all  the  churches  of  Granada  are  enriched  by  his 
paintings,  and  examples  may  be  found  in  tnany 
other  churches  of  Spain.  We  may  especially 
mention : 

Berlin.        Gallery.       St.  Agues. 

243 


A  BIOGRAPHICAL  DICTIONARY  OP 


Malaga. 
Munich. 
Petrsbrg. 


S.  Fernando  \ 
Acadany,  ] 
S.  Gines. 
Cathedral. 
Finakothek. 
Sennitage. 


Dresden.     Gallery.       St.  Panl. 
Granada.    Cathedral.    The  Virgin  in  Solitude. 
Madrid.      Gallery         Madonna  in  Adoration. 
„  The  Scourging  of  Christ. 

"  „  The  Dead  Christ. 

„  St.  Benedict  in  Meditation. 

"  „  St.  John  the  Evangelist. 

St.  Jerome. 
A  Crucifixion. 

Christ  seated  and  stripped. 
The  Virgin  of  the  Eosary. 
St.  Anthony  of  Padua. 
Virgin  and  Child. 
„  Infant  Christ  and  St.  John. 

^  Apparition  of  Saints  to  a  Domin- 

ican. 
„  Portrait  of  Alonso  Cano. 

Seville.      Cathedral.    The  Madonna  and  Child. 
„  Museum.       Souls  in  Purgatory. 

CANO,  JoAQDiN  Josef,  a  Spanish  painter,  -w-as 
bom  at  Seville,  and  became  a  pupil  of  Domenico 
Martinez.  He  excelled  in  copying  the  works  of 
other  masters,  and  so  skilfully  imitated  the  '  Vir- 
gins '  of  Murillo  that  his  copies  may  be  mistaken 
for  the  originals.  He  was  secretary  of  the  School 
of  Design  at  Seville,  and  died  in  that  city  in  1784. 

CANO  DE  AREVALO,  Juan,  a  Spanish  painter  of 
fans,  was  born  at  Valdemoro  in  1656,  and  became 
a  scholar  of  Francisco  Camilo.  After  wasting 
much  of  his  time  in  idle  company,  and  much  of 
his  energy  in  fencing,  by  secluding  himself  for  a 
whole  winter,  and  bringing  out  his  accuinulated 
labours  in  the  spring,  he  succeeded  in  making  his 
beautifully-painted  fans  the  fashion,  as  newly- 
imported  French  ones.  The  discovery  of  the  trick 
did  not  destroy  their  well-earned  popularity,  and 
Cano  was  appointed  ahaniquero  (fan-maker)  to 
the  queen.  Although  his  chief  excellence  lay  in 
miniature  painting,  he  executed  some  larger  works  : 
several  in  distemper  for  the  chapel  of  the  Rosary 
in  the  church  of  his  native  town,  and  a  singular 
allegorical  piece,  painted  on  the  death  of  Queen 
Maria  Louisa,  representing  that  queen  as  a  winged 
spirit  surrounded  by  a  halo  of  rays,  each  contain- 
ing a  text  allusive  to  her  virtues.  It  was  Imng 
like  a  canopy  over  the  coffin  within  the  grotesque 
catafalque  of  Churriguera.  It  was  engraved  by 
Gregorio  Fosman  for  the  work  of  Vera  Tassis, 
the  plate  bearing  Cano's  curious  monogram.  He 
also  assisted  a  brother  artist  in  some  altar-pieces 
for  the  Jesuits,  and  for  the  church  of  Santa  Maria 
at  Alcala.  He  was  treacherously  assassinated  in  a 
duel  at  Madrid  in  1696. 

CANON,  Hans,  (or  Johann  von  Straschiripka,) 
a  German  painter,  of  Polish  descent,  was  born  in 
1829.  In  1853  he  dropped  his  unpronounceable 
Polish  name  for  that  by  which  he  was  afterwards 
known.  He  began  life  in  the  army,  but  in  1853 
studied  under  Rahl,  and  subsequently  worked  in 
Paris  under  Delaroche  and  Horace  Vemet.  He 
first  attracted  attention  as  a  satirieo-political 
draughtsman,  then  as  a  painter  of  portraits  and 
military  subjects.  He  eventually  took  to  historical 
painting  on  an  enormous  scale,  and  in  a  preposter- 
ously exaggerated  style.  He  lived  successively  at 
Carlsruhe,  and  at  Vienna,  where  he  died  in  1885. 

CANON,  Pierre  Laurent,  a  French  miniature 
and  landscape  painter,  was  bom  at  Caen  in  1787. 
He  exhibited  his  works  at  Lille  and  Douai,  but  in 
Paris  at  the  Salon  of  1831  only.  He  died  in  Paris 
in  1852. 

CANOT,  Pierre  Charles,  a  French  engraver, 
was  bom  about  the  year  1710,  and  came  in  1740 
244 


to   England.     He   was  elected   an   Associate-En- 
graver of  the  Royal  Academy  in  1770,  and  died 
at  Kentish  Town  in  1777.     He  engraved  a  great 
number  of  landscapes   and   sea-pieces,   many  of 
which  have  great  merit     Some  of  his  best  prints 
were  executed  after  the  works  of  Richard  Paton. 
The  following  are  his  most  esteemed  plates : 
A  Slight  Breeze  ;  after  Bakhuisen.    A  Fresh  Breeze ; 
A  Calm ;   and  A  Storm  ;   after    W.  van  de   Velde. 
Eeturning  from   Market ;    after  P.   de  I^aer.     The 
Amorous  Toper ;  and  The  Dutch  Smokers ;  after  D. 
Teniers.    The  Dutch  Cottage:   Autumn;   Winter; 
after  Pillement.    A   Dutch    Merry-making;    after 
Ostade.     Pyramus  and    Thisbe ;    after  L.  Bramer. 
The  Tempest ;   after  S.  de    Vliegher.    An  Italian 
Landscape  ;  after  Gaspard  Foussin.    A  Landscape  ; 
and  Sunrise,  a  marine  ;  after  Claude  Lorrain.    Two 
Pastoral  Subjects ;  after  Rosa  da  Tivoli.     Two  Views 
of  Westminster  Bridge  and  London  Bridge ;  after 
Scott.    Seven  Fox-hunting  Subjects ;  after  Wootton. 

CANOVA,  Antonio,  the  celebrated  sculptor,  who 
was  also  a  painter,  was  bom  at  Possagno,  near 
Bassano,  in  1757.  His  paintings  show  a  careful 
study  of  the  Venetian  masters,  and  are  slightly 
finished  as  to  their  general  colouring.  In  1798  he 
produced  'The  Dead  Christ,  with  St.  Mary,  St 
Joseph,  and  Nicodemus,'  for  his  native  town.  The 
Museum  of  Nantes  has  a  picture  of  '  Godefroid  de 
Bouillon, '  presented  by  the  artist  to  M.  Cacault  in 
1803.     Canova  died  at  Venice  in  1822. 

CANOZZI,  Cristoforo,  the  brother  of  Lorenzo 
Canozzi,  was  born  at  Lendinara  about  1426.  His 
works  up  to  1477  are  mentioned  in  the  notice 
of  his  brother.  After  Lorenzo's  death  he  carried 
on  business  partly  at  Parma  and  partly  at  Modena. 
He  was  the  author  of  a  panel  of  a  '  Virgin  and 
Child  '  in  the  Gallery  of  Modena,  signed  and  dated 
1482  :  in  the  same  Gallery  is  a  '  Cracifixion,  with 
SS.  Jerome  and  Francis,'  that  may  be  attributed  to 
him.     The  date  of  his  death  is  uncertain. 

CANOZZI,  Lorenzo,  called  Lorenzo  da  Len- 
dinara, was  bom  at  that  town  in  1425.  Both  he 
and  his  j-ounger  brother  Cristoforo  were  painters, 
mosaicists,  modellers  in  terra-cotta,  and  printers 
of  books.  They  flourished  at  Modena  and  Padua. 
Paciolo  declares  Lorenzo  to  have  been  a  complete 
master  of  perspective.  Between  the  years  1460 
and  1470  these  brothers  finished  the  carving  and 
inlaj-ing  of  ninety  stalls  in  the  choir  of  the 
Santo,  Padua  ;  and  in  1465  they  executed  the  stalls 
in  the  choir  of  the  cathedral  of  Modena.  The 
first  mentioned,  with  four  exceptions,  all  perished 
by  fire  in  1749.  At  Modena  four  of  the  panels 
representing  the  Doctors  of  the  Church,  stiU  remain. 
Between  1472  and  1476  the  two  brothers  executed 
the  mosaics  of  the  presses  in  the  sacristy  of  the 
Santo,  Padua,  from  designs  by  Squarcione,  of 
whom  Lorenzo  at  least  was  a  pupil ;  these  have 
been  much  damaged  by  restorations.  Lorenzo  is 
also  thought  to  be  the  author  of  the  frescoes  of  SS. 
Jerome,  Ambrose,  Gregory,  and  Augustine  in  the 
Eremitani  Chapel  at  Padua.  His  death  occurred  in 
1477,  and  after  that  the  business  was  carried  on  by 
Cristoforo.  A  '  Madonna  and  Child '  in  the  Modena 
Gallery  bears  his  name,  and  the  date  1482. 

CANTA-GALLINA,  Remigio,  was  an  Italian 
designer  and  engraver,  born  at  Florence  in  1582. 
He  frequented  for  some  time  the  school  of  the 
Carracci,  though  he  does  not  appear  to  have 
distinguished  himself  as  a  painter.  He  was  in- 
stracted  in  engraving  by  Giulio  Parigi.  His  pen 
drawings  possess  great  merit,  and  are  highly 
esteemed.     We  have  a  number  of  plates  by  him 


PAINTEES  AND  ENGRAVERS. 


of  landscapes,  theatrical  decorations,  and  triumphal 
entries.     This  artist  has  the  credit  of  having  been 
the  instructor  of  Callot  and  Stefano  della  Bella. 
He  died  at  Florence  about  1630.    His  mark  is    J» 
and  the  following  are  his  principal  prints.       "Try 

Two  landscapes;  one  with  a  bridge,  the  other  with 

buildings ;  both  dated  1603. 
The  Immaculate  Conception  ;  after  Callot. 
A  set  of  four  landscapes ;  dated  1809. 
A  set  of  six  landscapes. 
A  set  of  twelve  landscapes  ;  octagon ;  marked  with  his 

cipher. 
A  set  of  six  landscapes ;  with  his  cipher ;  dated  1624. 
A  set  of  plates  of  the  Scenes  of  on  Opera ;  after  the 

designs  of  Gitilio  Parigi. 
A  set  of  plates,  called  the  Palazzo  della  Fame ;  dated 

1608. 

CANTARINI,  SiMONE,  called  Simone  da  Pesaro, 
or  II  Pesaresb,  painter  and  engraver,  was  born  at 
Oropezza,  near  Pesaro,  in  1612.  He  was  instructed 
in  design  by  Giovanni  Giacomo  Pandolfi,  and  after- 
wards studied  under  Claudio  Ridolfi.  But  the  works 
of  Guido  Reni  were  at  that  time  so  much  the  objects 
of  admiration,  that,  although  he  had  gained  already 
no  little  celebrity  by  liis  picture  of  '  St.  Peter,' 
painted  for  a  chapel  at  Fano,  near  that  in  which  was 
placed  Guide's  picture  of  '  Christ  giving  the  Keys  to 
St.  Peter,'  he  resolved  to  become  a  student  in  the 
school  of  Guido,  where  he  remained  until  his  inso- 
lence and  malevolence,  not  only  to  his  instructor, 
but  to  Domenichino  and  Albani,  obliged  him  to 
quit  Bologna,  and  seek  shelter  in  Rome,  where  he 
employed  some  time  in  studying  the  works  of 
Raphael.  On  his  return  to  Bologna,  not  finding  a 
residence  there  agreeable  to  him,  he  went  to 
Mantua,  where  he  was  taken  into  the  service  of 
the  duke,  and  was  employed  to  paint  his  portrait. 
But  whether  he  had  not  been  accustomed  to  that 
branch  of  art,  or  from  some  other  cause,  he  was 
entirely  unsuccessful.  This  disappointment,  prey- 
ing on  a  disposition  naturally  morose  and  irritable, 
is  supposed  to  have  occasioned  his  death  at  Verona 
in  1648.  Baldinucci  considers  Cantarini  as  another 
Guido ;  but  although  his  merit  is  undoubted,  and 
though  he  is  allowed  to  have  approached  nearer 
to  him  than  any  other  of  his  imitators,  he  has  little 
claim  to  originality ;  and  for  all  that  we  admire  in 
his  best  works,  many  of  which  possess  great  beauty, 
he  is  evidently  indebted  to  his  great  model. 

The  following  are  his  principal  paintings  still 
extant : 


Bologna. 
Dresden. 
Fano. 

Genoa. 

Madrid. 

Milan. 


Pinacoteca. 
Gallery. 
S.  Pietro. 
S.  Ignazio. 
Durazzo  Pal. 
Gallery. 
Btera. 


Modena.    Museum. 
Munich.     Pinakotkek. 


Paris. 


Louvre. 


Petrsbrg.  Hermitage. 

Kome.       Corsini  Pal. 
„  Colonna  Pal. 

Vienna.      Gallery. 


The  Assumption. 

The  Chastity  of  Joseph. 

Miracle  of  St.  Peter. 

St.  Thomas  of  Villanuova. 

The  Flight  into  Egypt. 

Holy  Family. 

Holy  Family. 

The  Transfiguration. 

Christ  at  Emmaus. 

Christ  appearing  to  theMagdalen. 

The  Incredulity  of  .St.  Thomas. 

St.  Cecilia. 

Repose  of  the  Holy  Family  (St. 
Joseph  seated). 

Eepose  of  the  Holy  Family  (St. 

Joseph  sleeping). 
Holy  Family. 
Repose  in  Egypt. 
His  own  Portrait. 
St.    Sebastian     and     the    Holy 

Women. 
Tarquin  and  Lucretia. 
Madonna  and  Child. 


As  an  engraver  the  etchings  of  Cantarini  are  in 
very  high  estimation.  They  are  very  masterly  and 
spirited  ;  but  in  them  his  imitation  of  the  etchings 
of  Guido  is  even  more  apparent  than  in  his  paint- 
ings, and  it  would  not  be  easy  to  distinguish  them 
if  the  plates  by  Guido  did  not  show  a  superior 
marking  of  the  figure,  particularly  in  the  extremi- 
ties. There  are  about  thirty-seven  etchings  by  him 
known,  of  which  the  following  are  the  principal : 

Adam  and  Eve  eating  the  forbidden  Fruit. 

The  Repose  in  Egypt;   falsely  marked  G.  Renus  in.  ^ 

fee. 
Aiiother  Repose  in   Egypt,  the  Head  of  thu  Virgin  in 

profile,  with  St.  Joseph  sitting  near  her. 
Another  Repose  in  Egypt,  the  Head  of  the  Virgin  in 

front,  with  St.  Joseph  in  the  distance ;  very  fine. 
The  Holy  Family,  with  St.  John. 
Another  Holy  Family,  with  St.  John ;  marked  S.  C.  da 

Pesare  fe. 
The  Virgin  Mary,  with  a  Glory,  and  the  Infant  Jesus  ; 

marked  .S'.  C  da  Pesare  fe. 
The  Virgin,  with  the  Infant  Jesus  holding  a  Bird  by  a 

String. 
The  Virgin  sitting  in  the  Clouds,  with  the  Infant  Jesus 
The  Virgin,  with  a  Glory,  crowned  by  two  Angels. 
Christ  bearing  His  Cross,  with  Joseph  of  Arimathea. 
St.  John  the  Baptist  in   the  Wilderness,  holding  his 

Cross,  and  a  Cup. 
St.  John  in  the  Wilderness,  sitting  on  a  Stone. 
St.  Sebastian,  with  an  Angel  presenting  the  Palm  of 

Martyrdom. 
The  great  St.  Anthony  of  Padua  kneeling  before  the 

Infant  Jesus. 
The  httle  St.  Anthony  of  Padua. 
St.  Benedict  curing  a  Demoniac ;  after  Lod.  Carracci. 
The  Guardian  Angel  leading  a  Child. 
Jupiter,  Neptune,  and  Pluto  doing  homage  to  Cardinal 

Borghese;    fine;    for  some  time  thought  to   be  by 

Guido. 
The  Rape  of  Europa ;  fine  and  scarce ;  marked  G.  Reims 

in.  et  fee.  * 

Mercury  and  Argus  ;  fine  and  scarce. 
Mars,  Venus,  and  Cupid ;  after  Paolo  Veronese. 
Venus  and  Adonis. 
Fortime,  represented  by  a  Female  with  her  foot  on  a 

globe;  after  Guido  Reni;  marked  G.  Renus  in.  etfec. 

CANTI,  Giovanni,  was  a  native  of  Parma,  and 
was  born  about  the  year  1660.  According  to 
Lanzi,  he  resided  chiefly  at  Mantua,  where  his 
battle-pieces  and  landscapes  were  much  sought 
after.  He  also  attempted  historical  subjects,  but 
never  rose  above  mediocrity,  and  seemed  to  imagine 
himself  able  to  make  up  for  every  other  requisite 
by  his  promptness  and  facility  of  execution.  He 
died  in  1716. 

CANTINI,  Giovacchino,  an  engraver  of  note  in 
Florence,  and  one  of  Raphael  Morghen's  most  suc- 
cessful pupils,  was  born  about  1780,  and  died  about 
1844.     The  following  are  his  best  works: 

The  Virgin  and    Child,  with   St.  Sebastian   and    St. 

Anthony  ;  after  Fra  Mnrtolomtneo :  his  chef-d'oBUvre. 
The  Virgin  with  her  hands  folded  ;  after  P.  Batoni. 
The  Holy  Family;  aftiT  Leonardo  da   Vinci,  for  the 

Muste  Napolton. 
Judith  with  the  Head  of   Holofemes:  after  AHori; 

1802. 
St.  Peter  walking  on  the  Sea ;  after  L.  Cigoli, 
Michelangelo  Buonarroti ;  after  Vasari, 

CANTOFOLI,  GiNEVRA,  a  lady  artist,  was  a 
native  of  Bologna,  and  Zani  says  that  she  was 
born  in  1618,  and  died  in  1672.  According  to 
Malvasia,  she  received  her  instructions  in  art  from 
Elisabetta  Sirani,  and  achieved  some  reputation  as 
a  historical  painter.  She  executed  several  works 
for  the  churches  of  her  native  city:  amongst  others 
the  following : 

245 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bologna.    S.  Procolo.  The  Last  Sapper. 

iS.  Giacomo  Maggiore.    St.    Thomas    of    Villa- 

nuova. 
La  Morte.  St.  Apollonia. 

CANTON,  Franz  Thomas,  an  Austrian  landscape 
painter  of  repute,  was  a  native  of  Udine.  He  was 
born  in  1677,  and  died  at  Vienna  in  1733. 

CANTON,  JoHANN  Gabriel,  who  was  born  at 
Vienna  in  1710,  studied  under  his  father,  Franz 
Thomas  Canton,  and  became  known  as  a  painter 
of  battles,  landscapes,  and  animals.  In  the  Belve- 
dere, Vienna,  is  a '  Landscape  with  peasants  dancing ' 
by  him.  He  painted  the  animals  in  the  landscapes 
of  Orient  and  the  battles  in  some  large  pictures  of 
Martin  von  Meytens,  and  died  at  Vienna  in  1753. 

CANU,  Jean  Dominique  Etienne,  a  French 
engraver,  born  in  Paris  in  1768,  was  a  pupil  of 
Delaunay.  He  engraved  the  series  of  '  Costumes 
des  troupes  franjaises  de  1792  a  1816,'  many 
theatrical  and  other  portraits,  and  a  large  number 
of  plates  of  animals  and  plants  for  the  '  Description 
de  I'Bgypte,'  Cuvier's  '  Iconologie  du  Eegne 
animal,'  the  'Museum  d'Histoire  naturelle,'  Du- 
perrey's  '  Voyage  autour  du  Monde,'  the  '  Flore 
des  Antilles,'  and  other  works.  The  date  of  his 
death  is  unknown. 

CANUTI,  DoMENico  Maria,  a  painter  and  etcher, 
was  born  at  Bologna  in  1620.  He  studied  art 
under  Guido  Reni,  and  subsequently  founded  a 
school  of  liis  own  in  his  native  city.  He  went  to 
Rome,  and  remained  there  for  some  years,  and  also 
visited  Mantua  and  Padua.  He  is  the  painter  of 
the  frescoes  in  the  library  of  San  Michele  in  Bosco. 
His  best  frescoes  are  those  in  the  Palazzo  Pepoli  at 
Bologna,  in  the  ducal  palace  at  Mantua,  and  in  the 
Colonna  Palace  at  Rome.  His  paintings  exhibit 
much  imagination  and  skiU  in  foreshortening,  and 
are  finished  in  the  style  of  Guido  Reni,  after  whose 
works  he  has  left  several  etchings  and  engravings. 
The  church  of  the  Olivelan  Fathers  at  Bologna 
possesses  a  very  fine  painting  by  him,  representing 
'The  Descent  from  the  Cross,'  with  a  moonlight 
effect ;  and  in  the  church  of  San  Bernardino  in  the 
same  city  are  two  Madonnas  with  Saints  and  Angels 
by  him,  of  one  of  which  he  has  left  an  etching. 
In  the  Bologna  Gallery  is  a  'Death  of  St.  Bene- 
dict' painted  for  Santa  Margherita  in  that  city. 
He  died  at  Bologna  in  1684.  The  following  en- 
gravings are  by  him : 

Portrait  of  Lodovico  Cairacci. 
„  Agostino  Carracci. 

„  Annibale  Carracci. 

The  Virgin  in  the  Clouds,  with  Christ  ^  J^^J^  .^  j;, 

St'^oS?" '"'""'"  I     -'"'->• 

St.  Francis  praying ;  after  Guido. 

CANT,  Jean  Baptiste  de,  a  French  historical 
painter,  is  known  only  by  a  'mai,'  representing 
'  The  Conversion  of  St.  Denis  at  Athens,'  which  he 
painted  in  1671  for  the  cathedral  of  Notre-Dame  at 
Paris. 

CAPANNA,  Puccio,  was  a  Florentine  painter  of 
the  14th  century,  who  was  admitted  a  member  of 
the  Florentine  Guild  in  1350.  He  was  a  pupil  of 
Giotto,  and  enriched  with  frescoes  of  Scriptural 
subjects,  in  the  manner  of  his  master,  the  cities 
of  Florence,  Rimini,  Pistoja,  Bologna,  and  Assisi. 
There  are  some  pictures  of  the  Passion  on  the 
vaulting  of  the  Lower  Church  at  Assisi,  which  are 
attributed  to  him.  The  paintings  in  the  chapter- 
house of  S.  Francesco  at  Pistoja,  representing  scenes 
from  the  life  of  St.  Francis,  and  from  that  of  our 

246 


Lord,  are  still  in  a  good  state  of  preservation : 
some  are  from  the  hand  of  Capanna,  who  died  at 
Assisi. 

CAPDEBOS,  Pierre  Fran90is,  a  French  his- 
torical painter,  born  at  Perpignan  in  1795,  was  a 
pupil  of  Berthon.  He  was  the  founder  of  the 
Museum  of  Perpignan,  inaugurated  in  1833,  and 
was  also  professor  of  drawing  in  the  free  echool 
of  that  town.     He  died  in  Paris  in  1836. 

CAPELLA,  II.    See  Dagih,  Francesco. 

CAPELLANI,  Antonio,  was  an  engraver,  and 
born  at  Venice  about  1730.  He  was  a  pupil  of 
Wagner,  and  engraved  several  plates  both  at  Rome 
and  Venice.  The  greater  part  of  the  portraits  in 
the  edition  of  Vasari,  published  by  Bottarini  at 
Rome  in  1760,  were  engraved  by  Capellani.  He 
also  engraved  several  of  the  plates  for  the  '  Schola 
ItalicEB  Picturae,'  under  the  direction  of  Gavin 
Hamilton.     The  following  are  his  principal  prints  : 

Portrait  of  Michelangelo  Buonarroti. 

The  Drawing  School ;  after  Dom.  Maiotto. 

Diana  and  Endymion  ;  after  the  same, 

Apollo  Eind  Daphne ;  after  the  same. 

The  Creation  of  Eve  ;  after  Michel^ingelo. 

Adam  and  Eve  driven  from  Paradise  ;  after  the  satM. 

Marriage  of  St.  Catharine  ;  after  Correggio. 

The  Repose  in  Egypt ;  after  Earocci.    1772. 

View  of  the  Portico  of  the  VUla  Albani ;  after  Fanini. 

CAPELLE,  Jan  van  der.  See  Van  der  Cappelle. 

CAPELLI,  Francesco,  was  a  native  of  Sassuolo 
in  the  province  of  Modena,  and  was  educated  in  the 
school  of  Correggio.  He  flourished  about  1568.  In 
the  church  of  San  Sebastian  at  Sassuolo  is  an  altar- 
piece  of  the  '  Madonna  and  Child  in  Glory,  with 
attendant  Saints,'  which  is  executed  by  him  in  the 
style  of  his  master,  and  bears  a  strong  resemblance 
to  a  picture  in  the  Dresden  Gallery,  which  is  also 
by  him.  He  was  also  called  Caccianemici,  but 
must  not  be  confounded  with  another  Francesco 
Caccianemici,  who  was  a  pupil  of  Primaticcio,  and 
lived  about  the  same  period. 

CAPELLI,  Giovanni  Antonio,  was  bom  at 
Brescia  in  1664.  He  was  first  instructed  by  Pom- 
peo  Ghiti ;  he  afterwards  visited  Bologna,  where 
he  studied  some  time  under  Lorenzo  Pasinelli,  and 
finally  went  to  Rome,  where  he  frequented  tl.e 
school  of  Battista  Gaulli,  called  Baciccio.  He 
painted  historical  subjects,  and  his  works  in  fresco 
were  held  in  considerable  estimation ;  they  are 
chiefly  in  the  public  edifices  at  Brescia.  Zani  is  of 
opinion  that  he  was  born  in  1669  and  died  in  1741. 

CAPELLINI,  Gabrielb,  called  II  Caligarino, 
or  II  Calzolaretto  (the  little  shoemaker),  from 
his  having  first  pursued  that  trade,  was  a  native 
of  Ferrara,  who  flourished  about  1620,  and  is  said  to 
have  been  induced  to  attempt  painting,  and  to  have 
become  a  scholar  of  Dosso  Dossi,  from  having  been 
complimented  by  that  artist  on  the  elegant  shape  of 
his  shoes.  His  pictures  imitate  those  of  his  master 
so  skilfully  that  they  are  often  taken  for  those  of 
Dossi.  In  the  church  of  San  Francesco  at  Ferrara 
is  a  picture  by  him  of  '  St.  Peter  and  St.  James,' 
and  in  San  Giovannino  the  principal  altar-piece, 
representing  '  The  Virgin  and  Infant,  with  several 
Saints,'  is  by  him. 

CAPELLINO,  Giovanni  Domenico,  was  bom  at 
Genoa  in  1580,  and  studied  painting  under  Giovanni 
Battista  Paggi,  of  whose  manner  he  was  a  success- 
ful imitator.  His  style  is  less  noble  than  that  of 
his  master,  but  he  possessed  other  qualities  of  the 
art  that  render  his  works  interesting,  as  is  evident 
in  his  '  Death  of  St.  Francis '  in  San  Niccolo  at 


PAINTERS  AND  ENGBAVEBS. 


Genoa,  and  his  'St.  Francesoa  Eomana'  in  San 
Stefano.     He  Hied  in  1651. 

CAPET,  Marie  Gabeielle,  a  French  painter 
of  portraits  in  oil,  water-colours,  and  miniature, 
was  born  of  humble  parentage  at  Lyons  in  1761, 
and  became  a  pupil  of  Madame  Vincent.  She  ex- 
hibited first  in  1781,  and  from  that  time  onwards 
produced  a  large  number  of  portraits,  of  which  the 
best  known  are  those  of  Mesdames  Adelaide  and 
Victoire,  Madame  Vincent  surrounded  by  her  pupils. 
Mile.  Mare,  and  Houdon  the  sculptor.  Mile.  Capet 
died  in  Paris  in  1818. 

CAPITELLI,  Bernardino,  was  a  painter  and 
etcher    who   was    born    at   Siena   in    1589.      He 
became  a  pupil  of  A.  Casolani,  and  then  of  E. 
Manetti,  and  between  the  years  1622  and  1637  was 
actively  engaged  in  his  profession,  both  at  Rome 
and   at  Siena.      His    etchings,  though  somewhat 
hard  and  deficient  in  harmony  of  tone,  are  distin- 
guished by  careful  drawing.      He  died  in  1639. 
Amongst  his  etchings  may  be  mentioned  : 
Portrait  of  Alessandro  Casolani ;  B.  Capitelli  fecit, 
St.  Anthony  of  Padua  ;  B.  Cayitelli  fee.     1637. 
Marriage  of  St.  Catharine ;  after  Cmreggio. 
The  Eepose  in  Egypt,  a  night  scene ;  after  Sutilio  Ma- 
netti. 
I/)t  and  his  Daughters ;  after  the  same. 
Ceres  drinking  in  the  Cottage  of  the  old  Woman.    The 
same  subject  which  Count  Goudt  engraved  after  Els- 
heimer. 
A  set  of  twelve  plates  of  the  Life  of  St.  Bernard  of 

Siena. 
A  set  of  friezes  and  bassi-rilievi,  among  which  is  the 
AJdobrandini  Marriage  from  an  antique  painting. 

CAPLIN,  Jean  FBANgois  Isidore,  a  French  topo- 
graphical engraver,  was  bom  in  Paris  in  1779.  He 
was  a  pupil  of  Blondeau,  and  exhibited  at  the  Sa- 
lon of  1827  a  drawing  of  'St.  John's,  Newfound- 
land.' He  also  engraved  a  number  of  maps  for 
the  DiSpot  de  la  Marine.  The  date  of  his  death  is 
not  known. 

CAPODOBO.     See  Paganini. 

CAPOLONGO,  Antonio,  was  a  Neapolitan  painter 
who  flourished  about  the  year  1580.  He  was 
a  pupil  of  Giovanni  Bernardo  della  Lama,  and, 
according  to  Dominici,  painted  the  principal  altar- 
piece  for  the  church  of  San  Diego,  Naples,  repre- 
senting 'The  Immaculate  Conception,  with SS.  Fran- 
cis of  Assisi  and  Anthony  of  Padua.'  The  church  of 
San  Niccol6,  in  the  same  city,  possesses  a  '  Madonna 
and  Child  in  a  Glory  of  Angels,  with  attendant 
Saints,'  by  this  artist. 

CAPON,  William,  the  son  of  an  artist,  was  born 
at  Norwich  in  1757,  and  in  early  life  practised  as  a 
portrait  painter.  He  went  to  London,  and  was 
employed  on  the  decorations  of  Ranelagh  Gardens 
and  the  Italian  Opera-house.  He  was  afterwards 
employed  by  John  Kemble  as  scene  painter  foi 
Drury  Lane  Theatre,  which  was  rebuilt  in  1794. 
In  after  years  he  became  celebrated  as  an  archi- 
tectural draughtsman  ;  and  occasionally  exhibited 
at  the  Royal  Academy.  He  died  at  Westminster 
in  1827. 

CAPONIBUS,  Eaffaellino  de.     See  Capponi. 

CAPOEALI,  Bartolommeo,  was  an  inferior 
painter  of  Perugia,  who  flourished  there  towards 
the  close  of  the  fifteenth  century  ;  be  painted  from 
1472  to  1499.  A '  Madonna  and  Saints '  done  by  him 
in  1487,  for  the  church  of  Santa  Maria  Maddalena 
at  Castiglione  del  Lago,  is  still  preserved  in  that 
town,  and  is  thought  by  Messrs.  Crowe  and  Caval- 
caselle  to  be  the  only  specimen  of  his  skill  that  has 
any  claims  to  authenticity. 


CAPORALI,  Giovanni  Battista,  called  also 
BiTTi,  a  diminutive  of  his  Christian  name,  by 
Vasari,  who  names  him  erroneously  Benedetto,  was 
the  son  of  Bartolommeo  Caporali,  and  was  born  at 
Perugia  about  1476,  and  died  about  1560.  He  was 
the  scholar  and  imitator  of  Perugino,  and  also 
an  architect,  and  built  a  palace  near  Cortona 
for  Cardinal  Silvio  Passerini,  which  he  likewise 
decorated  with  frescoes,  in  the  execution  of  which 
he  was  aided  by  Tommaso  Barnabei,  better  known 
as  Maso  Papaoello.  His  paintings  exhibit  a  bold- 
ness and  freedom  of  style,  and  occasionally  are 
finished  after  the  manner  of  Signorelli,  and  are 
deservedly  esteemed.  Many  of  the  churches  in 
Perugia  and  its  neighbourhood  possess  works  by 
Caporali.     Other  examples  may  be  found  as  under : 

Cortona.     Villa  Passe-  )  gj^  (.j^^^;    g^^^^^_ 

mm.  y 

Rome.      S.    Croce    in  )  The    Eternal    Father  in    Glory 
Gerusalemvie.  /      surrounded  by  Saints. 
„  „  The  Crucifixion. 

Panicale.       Cathedral.     The  Nativity. 

„  S.  Halvatore.  Christ    between    SS.  John    the 

Baptist  and  Peter. 

CAPPELLA,  SciPiONE,  an  Italian  historical 
painter,  was  a  pupil  of  Solimena.  He  lived  in 
the  18th  century,  and  copied  his  master's  paintings 
with  such  success  that  when  retouched  by  the 
latter  they  passed  for  originals. 

CAPPELLE,  Jan  van  der.  See  Van  der 
Cappelle. 

CAPPELLI,  CAPPELLINI,  CAPPELLINO. 
See  Capelh,  &c. 

CAPPELN,  Hermann  AnoosT,  was  a  painter 
born  at  Skien  in  Norway  in  1827.  He  went  to 
Diisseldorf,  where  he  studied  under  Gude.  There 
is  a  capital  mountain  landscape  by  him,  in  the 
Christiania  Gallery,  the  scene  of  which  he  took 
from  the  neighbourhood  of  Thelemark.  His  paint- 
ings were  characterized  by  breadth  and  originality, 
combined  with  much  poetical  feeling.  He  died 
at  Diisseldorf  in  1852. 

CAPPONI,  Raffaellino  (di  Bartolommeo), 
called,  from  the  melancholy  sweetness  by  which 
his  pictures  were  distinguished,  Raffaellino  del 
Garbo  (and  also  variously  known  as  '  Raffaellino 
de  Caponibus,'  '  B.  de  Florentia,'  '  B.  de  Carolis,' 
and  '  E.  Karii '),  was  a  Florentine  painter  who  is 
stated  to  have  been  born  in  1476.  He  was  a  dis- 
ciple of  Filippino  Lippi,  whom  he  soon  surpassed, 
and  for  some  time  he  gave  promise  of  extraordin- 
ary ability.  He  accompanied  Filippino  to  Eome, 
where  he  was  employed  in  the  Cappella  della  Mi- 
nerva, and  painted  in  the  vault  some  beautiful 
angels,  which  were  more  admired  than  the  prin- 
cipal work  by  his  master.  On  his  return  to  Flor- 
ence, he  painted  for  the  church  of  Monte  Oliveto  a 
picture  of  '  The  Eesurrection,'  in  which  the  grace- 
ful heads,  the  characteristic  expression  of  the 
numerous  figures,  and  the  beauty  of  the  colouring 
exceeded  any  production  of  the  time.  Another 
tine  picture,  painted  in  the  early  part  of  his  life,  is 
in  the  monastery  of  San  Salvi,  and  is  highly  com- 
mended by  Moreni  in  his  '  Notizie  istoriche  dei 
Contorni  di  Firenze.'  He  is  the  author  of  a  '  Virgin 
and  Child  '  between  SS.  Francis  and  Zenobius  and 
two  kneeling  patrons,  which  is  signed  and  dated 
1500,  and  is  now  in  the  Hospital  of  Santa  Maria 
Nuova,  in  Florence.  Messrs.  Crowe  and  Caval- 
caselle  have  also  assigned  to  this  artist  an  altar- 
piece  in  the  church  of  San  Spirito,  Florence,  repre- 
senting 'The  Virgin  and  Child,  with  four  S.iiiits, 

247 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  Satan  bound  ; '  also  altar-pieces  in  Santa  Maria 
degli  Angeli  of  Siena,  and  an  altar-piece  to  be  seen 
in  the  Academy  of  Pisa.  Rosini  has  given  a  print 
of  'The  Resurrection  of  Christ,'  from  the  picture  in 
the  Academy  at  Florence  (plate  104),  and  it  justifies 
the  praise  bestowed  upon  the  painter,  but  contains 
only  seven  figures.  The  cares  of  a  large  family 
eventually  proved  fatal  to  the  growing  reputation 
of  Capponi,  causing  bim  to  sink  into  a  state  of  list- 
lessness  and  apathy,  so  that  his  later  producrions 
were  extremely  feeble.  He  is  said  to  have  died  at 
Florence  in  great  poverty  in  1524,  but  the  dates 
of  both  his  birth  and  death  are  perhaps  open  to 
question.  The  following  is  a  list  of  his  best  extant 
paintings : 

Berlin.  Gallery.  Virgin  between  two  draped  Angels. 
Florence.  ^^JJ^f^"^  \  The  Miracle  of  the  Loaves-Frwco. 

„  „  The  Annunciation. 

„  „  St.  Koch. 

„  „  St  Ignatias. 

„  S.  Spiriio.  The  Trinity  adored  by  SS.  Cath- 
arine and  Mary  Magdalene. 

„  „  Virgin  surrounded  by  Saints.  1505. 

„  S.  Loren:o.  The  Nativity. 

„  Academy.  The  Resurrection. 

Paris.  Louvre.  Coronation  of  the  Virgin. 

CAPPUCINO.     See  Galantis'i,  and  Steozzi. 

CAPRIOLI,  Aliprando,  was  a  Florentine  en- 
graver who  worked  at  Rome  somewhere  about 
1580,  producing  portraits  and  historical  subjects 
in  the  style  of  Agostino  Carracci. 

CAPRIOLI,  DoMENico,  was  a  painter  bom  at 
Treviso  in  1495.  He  produced  portraits  in  the 
style  of  Giorgione,  which  were  well  conceived,  and 
rendered  in  a  skilful  manner.  There  is  a  fine  por- 
trait by  him  in  the  Pinakothek  at  Munich.  His 
monogram  was  a  deer. 

CAPURRO,  Francesco,  was  bom  at  Genoa,  and 
was  a  scholar  of  Domenico  Fia^eUa.  On  leaving 
that  master  he  went  to  Naples  and  Rome,  where 
he  attached  himself  to  the  works  of  Spagnoletto, 
whose  strong  and  vigorous  style  was  then  admired. 
He  was  employed  some  rime  at  the  Court  of  Mo- 
dena,  and,  according  to  Soprani,  died  at  Genoa,  in 
the  prime  of  life,  of  a  malignant  fever.  He  flour- 
ished about  1690. 

CAQUET,  Jean  Gabriel,  a  French  engraver,  was 
bom  in  Paris  in  1749.  He  engraved  '  L'Innocence 
en  Danger,'  after  Lavreince,  '  La  Soiree  du  Palais- 
Royal,'  and  illustrations  to  the  '  Contes  '  of  La  Fon- 
taine, after  designs  by  Fragonard.  He  died  in 
Paris  in  1802. 

CARABAHEL  (or  Carabajal).    See  Cakbahal. 

CARACCI.     See  Cabbacci. 

CARACCIOLO,  GiovANXi  Battista,  commonly 
known  as  Battistello,  a  Neapolitan  painter,  was 
bom  in  1580.  He  studied  under  F.  Imparato  and 
Caravaggio,  devoting  himself  later  to  the  style 
of  the  frescoes  by  Annibale  Carracci  in  the  Far- 
nese  Palace,  Rome :  he  generally  painted  in  the 
manner  of  Annibale  Carracci,  but  his  pictures 
were  at  the  same  time  tinged  with  much  of  the 
influence  of  the  naturalistic  tendency  of  his  con- 
temporary Spagnoletto.  He  died  at  Naples  in 
1641.  Among  the  works  which  he  painted  for  the 
churches  of  Naples  were  the  following : 

Naples.  S.  Martina. 

„      S.MariadtUa 


248 


Solitaria. 
S.  ^ticeoto. 


Mary    Magdalene  anointing    the 
Feet  of  Christ. 

I  St.  Cecilia. 

St.  Anthony  of  Padua. 


„      /S.  Anna  de'  )  The  Assumption. 

Lombardi.    j  Death  of  the  Virgin. 
„      S.  Agnello.         St.  Charles. 

CARAFFE,  Armand  Charles,  a  French  his- 
torical painter,  who  also  etched,  was  bom  in  Paris 
in  1762.  He  was  a  pupil  of  Lagren^e  and  of 
David.  He  visited  Rome,  and  subsequently 
travelled  in  Turkey  ;  but  at  the  outbreak  of  the 
Revolurion  he  returned  to  France,  and  became  so 
active  a  member  of  the  club  of  the  Jacobins  that 
he  was  imprisoned  from  1794  to  1797.  He  ex- 
hibited in  1799  a  picture  of  '  Hope  supporting 
Misfortune  to  the  Grave,'  which  was  much  praised, 
and  in  the  following  year  one  of  '  Love,  abandoned 
by  Youth  and  the  Graces,  consoling  himself  on  the 
bosom  of  Friendship,'  which  was  purchased  by 
the  wife  of  the  First  Consul.  In  1802  he  quitted 
France  for  an  appointment  at  the  Court  of  St. 
Petersburg,  where  he  remained  until  1812,  and 
painted  for  Prince  Yusupov  '  The  Oath  of  the 
Horatii.'  He  eventually  returned  to  Paris,  and 
died  in  that  city  in  1822. 

CARAGLIO,  GiovAfWi  Jacopo,  (or  CARALros, 
or  as  below,)  an  Italian  designer  and  engraver, 
was  bom  at  Parma  in  1498  or  1500,  and  was  a 
pupil  of  Marc  Antonio  Raimondi.  His  drawing 
is  very  correct ;  he  gave  a  fine  expression  to  his 
heads,  and  his  extremities  are  marked  in  a  mas- 
terly manner.  Caraglio  holds  an  eminent  rank 
among  the  engravers  of  his  country.  He  was 
much  employed  in  the  engraving  of  gems,  and 
executed  several  medals,  by  which  he  gained  great 
reputation  at  the  court  of  Sigismund,  King  of 
Poland.  He  flourished  as  an  engraver  on  copper  ■ 
from  1526  to  1.551.  In  the  latter  part  of  his  life  I 
he  returned  to  Italy,  and,  after  working  for  a  time  * 
at  Verona,  settled  on  his  own  estate  near  Parma, 
where  he  died  about  1570.  He  is  also  calltd 
Jacobus  Parmensis,  and  Jacobus  Veronensis, 
which  names  he  sometimes  inscribed  on  his  plates. 

The  following  are  the  best  of  the  sixty-nine 
plates  he  is  known  to  have  left : 

A  Battle,  with  the  Shield  and  Lance ;  after  Maphatl, 

Alexander  and  Koxaoa  ;  after  the  same. 

Diogenes;  after  Farmiffiano.  J 

Martyrdom  of  SS.  Peter  and  Paul ;  after  the  same.  I 

Portrait  of  Pietro  Aretino ;  after  the  same. 

Marriage  of  the  Virgin  ;  after  the  same. 

The  Virgin  and  Infant,  under  an  Orange  Tree ;  Jacobus 

Veronensis. 
The  Virgin  kneeling,  with  the  Infant  and  St.  Ann 
The  Holy  Family  ;  after  Raphael ;  the  same  subject  as 

the  fine  print  by  Edelinck. 
Another    Holy    Family,    with   St.    Elizabeth;    after 

Raphael. 
The  Annunciation  ;  after  Titian. 
The  Punishment  of  Tantalus  ;  after  the  same. 
The  Pape  of  Ganymede  ;  after  Michelangelo. 
An  Anatomical  Figure,  holding  a  Skull ;  after  Sosso. 
Hercules  piercing  with  his  Arrows  the  Centaur  Nessus ; 

after  the  same. 
Hercules  slaying  Cacus  ;  after  the  same. 
Nymphs  and  Young  Men  in  a  Garden ;  after  the  same. 
Twenty,  of  Divinities  with  their  Attributes,  in  niches ; 

after  the  same. 
Twenty,  of  the  Metamorphoses  of  the  Gods ;  after  Sosso 

and  Perino  del  Vaga. 
The  Triumph  of  the  Muses  orer  the  Pierides;  after 

Perino  del  Vaga.     1S53. 
The  Death  of  Meleager ;  after  the  same. 
The  Creation ;  after  the  same  ;  semi-circular. 
The  Kape  of  the  Sabines ;  after  Rosso  ;  iinfiniiitiail. 
The  School  of  an  Ancient  Philosopher, 

CARAVAGGIO,  Michel  Angiolo  da.  Se» 
Amebigi. 


PAINTEKS  AND  ENGKAVERS, 


CARAVAGGIO,  Polidoro  da.    See  Caldara. 

CARAVAQUB,  Louis,  a  French  portrait  painter, 
was  a  native  of  Gascony.  He  went  to  Russia,  and 
in  1716  painted  at  Astrakhan  the  portrait  of  Peter 
the  Great,  which  has  been  engraved  by  Massard 
and  by  Langlois.  He  again  painted  the  Czar  in 
1723,  and  subsequently  the  Empresses  Anne  and 
EHzabeth.     He  died  in  Russia  in  1752. 

CARAVOGLIA,  Bartolommeo,  was  a  native  of 
Piedmont,  and  flourished  about  1673.  He  is  said 
to  have  been  a  scholar  of  Guercino,  but  Lanzi 
doubts  this,  observing  that  his  lights  are  less  lucid 
and  his  shadows  less  deep  than  those  of  the 
genuine  followers  of  that  master.  Notwithstand- 
ing this  fault,  his  pictures  please  by  their  quiet 
colour  and  their  originality  in  design.  His  best 
painting  is  the  '  Last  Supper,'  in  the  church  of 
Corpus  Domini,  Turin. 

CARBAHAL,  Luis  de,  (Carabahel,  or  Caea- 
BAJAL,)  a  Spanish  painter,  was  born  at  Toledo 
in  1534,  and  died  at  Madrid  in  1613.  He  was 
a  pupil  of  Juan  de  Villoldo,  and  was  appointed 
court  painter  to  Philip  IL  in  1556.  He  executed 
numerous  paintings  in  the  Escorial  which  show 
firm  drawing,  good  colouring,  and  great  power  of 
religious  expression.  His  best  performance  is  the 
high  altar-piece  in  tlie  church  of  the  Minimi  at 
Toledo,  painted  in  1591.  A  '  Circumcision  of 
Christ'  by  him  is  in  the  Hermitage,  St.  Peters- 
burg, and  in  the  Madrid  Gallery  are  a  '  Penitent 
Magdalen'  and  i  'St.  Nicholas  of  Tolentino.' 

CARBONB,  LuiGi,  a  Neapohtan  landscape 
painter,  who  flourished  about  1660,  was  a  native 
of  Marcianisi.  He  went  to  Rome,  and  after  study- 
ing under  Paulus  Bril,  visited  Venice,  and  finally 
settled  at  Naples.  His  landscapes  usually  portray 
scenes  of  storm  and  flood,  and  the  figures  in  them 
are  particularly  charming. 

CARBONI,  Francesco,  was  a  Bolognese,  and 
the  pupil  of  Alessandro  Tiarini.  He  afterwards 
showed  himself  an  admirer  of  Guido,  and  imitated 
the  graceful  and  elegant  style  of  that  master.  He 
died  in  1635.    Among  his  works  are  noted : 

Bologna.   S.  Martina  \  Crucifixion,  with  St.  Theresa  and 
Maggiore.  j      other  Saints. 
S.  Faolo.        The  Entombment  of  Christ. 
Servile Fathers.ihe  Decollation  of  St.  John  the 
Baptist. 

CARBONI,  Giovanni  Bernardo,  a  native  of 
Albaro,  near  Genoa,  was  born  in  1614.  He  be- 
came a  scholar  of  Giovanni  Andrea  de'  Ferrari, 
and  obtained  a  great  reputation  in  his  day,  both 
as  an  historical  and  portrait  painter.  In  the  latter 
branch  it  is  said  that  he  painted  much  in  the 
manner  of  Van  Dyck.     He  died  at  Genoa  in  1683. 

CARDENAS.  BARTOLOMifi  de,  was,  according  to 
Palomino,  a  native  of  Portugal,  born  in  1547,  who 
when  very  young  went  to  Madrid,  where  he  be- 
came the  pupil  of  Alonso  Sanchez  Coello,  and 
achieved  a  deservedly  high  reputation.  He 
painted  the  greater  portion  of  the  cloisters  of  the 
convent  of  Nuestra  Senora  de  Atooha,  at  Madrid. 
In  the  latter  period  of  his  life  he  went  to  Valla- 
dolid,  where  he  painted  many  altar-pieces,  and 
decorated  the  cloisters  of  the  convent  of  San 
Pablo.     He  died  at  Valladohd  in  1606. 

CARDENAS,  Fray  Ignacio  db,  was  a  Spanish 
engraver,  who  executed,  about  1662,  the  arms  of 
the  families  of  Cordoba  and  Figueroa,  and  some 
prints  of  sacred  images  revered  in  Cordova. 
'        CARDENAS,  Juan  de,  was  the  son  and  pupil  of 


Bartolom^  de  Cardenas.  He  flourished  at  Valla- 
dolid  about  1630,  and  distinguished  himself  m 
painting  landscapes  as  well  as  fruit  and  flowers. 

CARDI,  Lodovico,  called  Cigoli,  an  eminent 
painter  of  the  Florentine  school,  was  bom  at 
Cigoli,  in  Tuscany,  in  1559.  He  was  first  a 
scholar  of  Alessandro  Allori,  but  was  afterwards 
instructed  by  Santo  di  Titi,  whose  academy  was 
then  the  most  attended  at  Florence.  He  was, 
however,  more  indebted  to  his  study  of  the 
works  of  Michelangelo,  Andrea  del  Sarto,  and 
Pontormo  than  to  either  of  his  masters.  After  tra- 
velling through  Lombardy,  he  returned  to  Florence, 
and  was  received  into  the  Academy ;  his  picture  of 
reception  was  'Cain  slaying  Abel.'  He  was  em- 
ployed by  the  Grand-Duke  in  some  works  for  the 
Pitti  Palace,  where  he  painted  '  Venus  and  a 
Satyr,'  and  '  The  Sacrifice  of  Isaac'  His  protector 
sent  him  to  Rome,  where  he  was  engaged  to  paint 
a  picture  for  St.  Peter's,  the  subject  being  '  St. 
Peter  healing  the  Lame  Man  at  the  Beautiful  Gate 
of  the  Temple.'  This  admirable  picture  has  been 
considered  by  many  as  one  of  the  finest  works  in 
the  Vatican,  after  Raphael's  '  Transfiguration,'  and 
Domenichino's  'Communion  of  St.  Jerome.' 

Lodovico  Cardi  died  at  Rome  in  1613.  He 
painted  many  easel  pictures  of  saints  (more  espe- 
cially St.  Francis  of  Assisi),  hermits,  and  Magda- 
lens  at  devotion,  which  are  remarkable  for  their 
expression  of  fervour,  contrition,  and  asceticism, 
and  are  generally  wrought  up  to  a  high  degree  of 
finish. 

The  following  gaUeries  and  churches  possess 
paintings  by  Cigoli : 

Empoli.     ColUgiata.  The  Last  Supper. 

„  S.  Croce.  Elevation  of  the  Cross. 

Florence.  Accademia. '  Martyrdom  of  St.  Stephen. 

„  „  St.  Peter  walking  on  the  Sea.^ 

,,  „  St.  Francis  receiving  the  Stig- 

mata. 
„       &  Maria  Mag-  \  gj_  ^^ert.' 

giore,  ) 

„         S.  Croce.  The  Trinity. 

„  , ,  The  Entry  into  Jerusalem. 

„        Uffizi.  Martyrdom  of  St.  Lawrence, 

„  „  Martyrdom  of  St.  Stephen. 

,,  ,,  His  own  Portrait. 

„        Fitti  Pal.  Deposition  of  the  Cross. 

„  „  Ecce  Homo. 

„  „  Virgin  and  Child. 

„  „  Portrait  of  a  Man, 

„  „  St.  Francis. 

„  „  The  Magdalen. 

JIadrid.  Gallery.  The  Magdalene. 

Munich.  Finakuthek.  St.  Francis. 

Paris.      Louvre.  The  FHght  into  Egypt, 

„  „  St.  Francis  of  Assisi. 

Petsbrg.  Hermitage.  David. 

^^  „  Tobias  and  the  Angel. 

Rome.     Borghese  Fal.  St.  Francis. 

„  Corsini  Fal.  A  Concert. 

„         S.  Peter's.  St.    Peter    healing    the    Lame 
Man. 

„         ^.G/oWrfe'Jgt  j„o^e. 
Fiorentim.    j 

S.  Paolo  fuori  >  Conversion  of  St.  Paul. 
le  mura.      y 
Vienna.  Gallery.  The  Dead  Christ. 

„  „  The  Trinity. 

Cigoli's  pictures  are  occasionaUy  signed  with 
the  following  monogram : 


L 


CARDISCO,  Marco,  better  known  as  Marco 
Calabrese,  was  born  in  Calabria  about  1486. 
He  is  said  to  have  been  a  pupil  of  Polidoro  da 

249 


A  BIOGRAPHICAL  DICTIONARY  OF 


Caravaggfio,  but,  judging  from  his  paintings, 
would  seem  to  have  formed  his  style  upon  that 
of  Andrea  da  Salerno.  He  passed  the  greater 
portion  of  his  life  in  Naples,  in  which  city  and  its 
neighbourhood  many  examples  of  his  painting  can 
be  found.  Dominioi  has  given  a  particular  account 
of  his  productions.  He  died  about  1542.  Some 
of  his  paintings  are : 

Naples.       Museum.      St.  Augustine  disputmg  with  the 
Heretics. 
S.PietroadAram.  Descent  from  the  Cross. 
„         „  „     A  Pieti,  with  SS.  Peter  and  Paul. 

CARDON,  Antoine,  an  engraver,  was  bom  at 
Brussels  in  1772.  He  was  the  son  of  Antoine 
Alexandre  Joseph  Cardon,  and  was  instructed  in 
art  by  his  father.  During  the  troubles  in  the 
Low  Countries  in  1792,  he  took  refuge  in  Eng- 
land, and  brought  with  him  an  introduction  to  Mr. 
Colnaghi,  who  discerned  the  rising  talent  of  the 
young  artist,  and  gave  him  immediate  employ- 
ment. He  had  risen  to  a  deservedly  high  rank 
in  public  estimation  when  he  fell  a  victim  to  a 
too  assiduous  appHcation  to  his  profession.  His 
death  took  place  in  London  in  1813.  Amongst 
his  numerous  plates,  chiefly  executed  in  stipple, 
may  be  mentioned : 

The  Presentation  of  Catharine  of  France  to  Henry  T. 
of  England  ;  after  Stothard. 

Salvator  Mundi ;  after  Carlo  Bold. 

The  Woman  taken  in  Adultery ;  after  Euhens. 

Plates  of  the  Indian  Campaign  against  Tippoo  Sahib. 

The  Battle  of  Alexandria  ;  after  Loutherhmrg. 

The  Battle  of  Madda ;  after  the  same. 

The  Storming  of  Seringapatam ;  after  Singleton. 

Portrait  of  Madame  E^camier ;  after  Cosxcay. 

CARDON,  Antoine  Alesandbe  Joseph,  a  painter 
and  engraver,  was  born  at  Brussels  in  1739.  He 
acquired  his  knowledge  of  painting  at  Vienna, 
under  the  tuition  of  H.  de  La  Pegna,  and  was 
afterwards  enabled  to  visit  Rome,  where  he  worked 
for  three  years.  After  that  he  went  to  Naples, 
where  he  laid  aside  the  brush  for  the  graver, 
and  was  employed  on  the  plates  for  Hamilton's 
'  Etruscan  Antiquities.'  He  died  at  Brussels  in 
1822.     Amongst  his  prints  may  be  noticed: 

Portrait  of  George,  Prince  of  Wales.    1766. 

Portrait  of  the  Chevalier  Verhulst. 

Le  Bain  Rustique  ;  after  A .  Watteau. 

Xa  Signature  du  Contrat  de  la  Noce  de  Village ;  after 
the  same.     His  principal  work, 

CARDONNEL,  Anthony  de,  who  flourished 
about  the  year  1790,  etched  several  plates,  repre- 
senting ancient  buildings  in  Scotland. 

CAKDDCCI,  Bartolommeo,  (or,  as  he  was  called 
in  Spain,  Cardhcho,)  was  born  at  Florence  in  1560, 
and  was  brought  up  in  the  school  of  Federigo 
Zuccaro.  He  assisted  that  master  in  the  great 
cupola  at  Florence  ;  and  whilst  he  was  yet  very 
young,  painted  for  the  church  of  the  Jesuits  two 
pictures,  representing  the  Immaculate  Conception 
and  the  Nativity.  When  Zuccaro  was  invited  by 
Philip  II.  to  the  court  of  Madrid,  he  prevailed  on 
Carducci  to  accompany  him,  and  he  assisted  in  the 
great  works  that  master  executed  in  the  Escorial. 
In  conjunction  with  Pellegrino  Tibaldi,  Carducci 
painted  the  famous  hbrary  ;  the  former  did  the 
ceihng,  the  latter  the  walls,  with  allegories  of  the 
Sciences.  A  great  portion  of  the  fresco  paintings 
in  the  cloister  of  the  Escorial  are  by  this  master, 
and  were  so  much  admired  by  the  "king,  that  he 
rewarded  him  with  two  hundred  ducats,  independ- 
ent of  his  salary.  His  principal  work,  and  that 
250 


which  above  all  others  established  his  reputation 
in  Spain,  was  the  '  Descent  from  the  Cross,'  in  the 
Church  of  San  Felipe  el  Real,  at  Madrid.  After 
the  death  of  Phihp  II.,  Carducci  continued  some 
years  in  the  service  of  his  successor,  Philip  III. , 
by  whom  he  was  engaged  to  paint  a  gallery  in  the 
palace  of  the  Pardo.  The  subject  was  to  have 
been  the  principal  events  in  the  life  of  Charles  V. 
It  was  begun  by  Carducci,  but  he  died  before  he 
had  made  any  great  progress  in  the  work,  in  1608. 
He  was  also  an  architect  and  sculptor. 

CARDUCCI,  ViNCENZo,  (or  CABDncHO,)  the 
younger  brother  of  Bartolommeo  Carducci,  was 
born  at  Florence  in  1568.  He  was  taken  by  his 
brother  to  Madrid  in  1585,  "  at  so  tender  an  age 
that  he  grew  up  with  very  faint  recoUecdons  of 
Italy,  and  learned  to  speak  and  write  Castilian  like 
his  own  mother  tongue."  He  was  instructed  in 
painting  by  his  brother  Bartolommeo,  whom 
Vincenzo  succeeded  in  1609,  as  painter  to  the 
king,  and  Philip  III.  engaged  him  to  finish  the 
gallery  in  the  palace  of  the  Pardo,  which  had  been 
begun  by  his  brother.  Instead  of  the  life  of 
Charles  V.  he  adopted  the  history  of  Achilles,  and 
finished  the  work  to  the  entire  satisfaction  of  his 
patron.  He  was  also  made  court  painter  to 
Philip  IV.,  his  successor,  by  whom  he  was  em- 
ployed in  many  considerable  works.  His  pictures 
are  to  be  seen  in  all  the  cities  of  Castile,  in  Sala- 
manca, Toledo,  Segovia,  and  Valladolid.  In  1626, 
lie  entered  into  an  agreement  to  paint,  for  the  Car- 
thusian Monaster)'  at  Paular,  fifty-four  large  pic- 
tures in  four  years,  but  some  of  them  bear  date  1632. 
These  works  are  now  in  the  National  Museum  at 
Madrid  ;  they  represent  scenes  from  the  Life  of  St. 
Bruno,  and  the  history  of  his  order.  His  works  in  the 
churches  of  Madrid  are,  the  Great  Chapel  in  the  Con- 
vent of  La  Encarnaoion ;  in  the  Convent  Del  Rosario, 
the  '  Angel  instructing  Joseph  in  his  dream  to  fly 
into  Egypt,'  and  '  St.  Anthony  of  Padua'  ;  in  the 
Refectory  of  the  Franciscans,  '  St.  John  preaching.' 
His  last  picture  was  a  '  St.  Jerome,'  in  the  Church 
of  Alcala  de  Henares,  which  he  did  not  live  to  finish, 
as  appears  by  the  inscription :  Vincencius  Carducho 
hie  viiam  non  opusjinit  1638.  His  death  occurred 
at  Madrid  in  that  year.  He  was  the  author  of 
'  Dialogos  de  las  excelencias  de  la  Pintura,'  printed 
at  Madrid  in  1633,  which  Cean  Bermudez  pro- 
nounces to  be  the  best  work  on  the  subject  in  the 
Castilian  language.  Cean  Bermudez  possessed  two 
etchings  by  Carducci — the  '  Death  of  Abel,'  and  a 
'Penitent  Saint,'  Vincenzo  Carducci  strenuously 
opposed  the  then  prevalent  tax  on  paintings,  and 
obtained  in  1633  a  royal  decree  for  its  remission 
when  artists  sold  their  own  works,  and  four  years 
later  succeeded  in  causing  its  total  abolition.  The 
following  pictures  by  him  are  in  the  Madrid  Gallery : 

Battle  of  Floras.  -\p        ^^  p^;^    - 

?:^f;:fTh:St.|  ^-'^^'-- 

Scenes  from  the  Life  of  the  Virgin. 
St.  Bruno. 

CARDUCHO.     See  Cabddcci. 

CARESME,  Philippe,  a  French  historical  painter, 
was  born  in  Paris  in  1734.  He  was  doubtless  a 
pupil  of  Charles  Antoine  Coypel,  and  was  admitted 
into  the  Academy  whilst  still  young,  but  expelled 
eight  years  later  in  consequence  of  misconduct  in 
some  pecuniary  transaction.  In  1781,  when  a 
royalist,  he  composed  an  allegorical  design  in 
commemoration  of  the  birth  of  the  Dauphin,  and 
in  1794,  after  he  had  become  an  ardent  republican. 


PAINTERS  AND  ENGRAVERS. 


he  presented  to  the  Commune  of  Paris  a  drawing 
representing  Joseph  Chalier,  the  tyrant  of  Lyons, 
going  to  execution :  both  of  these  have  been  en- 
gfraved.  He  also  painted  a  large  picture  of  the 
'  Nativity  of  the  Virgin '  for  the  Cathedral  of 
Bayonne.  Caresme  died  in  Paris  in  1796.  There 
are  in  the  Nantes  Museum  a  '  Holy  Family,'  and  in 
the  Bordeaux  Museum  a  sketch  of  '  Bathers,'  dated 
1780.  He  engraved  after  his  own  designs,  'The 
Execution  of  the  Marquis  de  Favras,  February  19th, 
1790,'  and '  The  Market- Women  going  to  Versailles 
to  compel  the  King  to  return  to  Paris,  Oct.  5th, 
1789.' 

CARIANI,  Giovanni  Busi.    See  Bnsi  Cabiani. 

CARL  XV.,  King  of  Sweden  and  Norway. 
See  Charles. 

CARL,  Adolf,  was  a  landscape  painter  of 
Altona,  born  in  1813.  He  began  to  learn  painting 
as  a  student  at  Munich,  but  afterwards  joined  the 
school  at  Diisseldorf.  His  landscapes  are  distin- 
guished by  poetical  conception,  graceful  form,  and 
pleasant  and  harmonious  colouring.  Most  of  them 
are  from  scenes  in  the  Tyrol  or  Northern  Italy, 
the  natural  beauties  of  which  he  rendered  in  a 
very  effective  manner.  His  chefs-d'oeuvre  are  the 
'Lake  of  Nemi'  and  a  'View  on  the  Chiemsee.' 
He  died  at  Rome  in  1845. 

CARLEVARIIS,  LucA,  (called  Casanobeio  and 
LocA  Di  Ca  Zenobrio,  from  having  been  patronized 
by  the  Zenobri  family,)  a  painter  and  engraver, 
was  born  at  Udine  in  1665.  He  painted  land- 
scapes, sea-pieces,  and  perspective  views  ;  his  pic- 
tures are  little  known,  except  in  Venice.  A  Coast- 
scene  by  him  is  in  the  Berlin  Gallery  ;  a  View 
of  the  Doge's  Palace,  Venice,  is  in  the  Dresden 
Gallery ;  and  another  Venetian  scene  is  in  the 
Gallery  at  Copenhagen.  We  have  by  him  a  set  of 
a  hundred  neat  and  spirited  etchings  of  views  in 
Venice,  which  give  an  exact  representation  of  the 
principal  places  in  that  city.  He  died  at  Venice 
about  1731. 

CARLIER,  Jan  Willem,  a  Flemish  painter,  was 
born  at  Liege  about  1638,  and  died  there  in  1675. 
He  was  a  pupil  of  Bertholet  Flemalle,  and  spent 
much  of  his  life  in  France :  but  most  of  his  works 
are  at  Diisseldorf  and  St.  Petersburg.  His  chef- 
d'oeuvre  is  '  The  Martyrdom  of  St.  Denis,'  now  pre- 
served in  the  church  of  St.  Denis,  at  Li6ge,  the 
sketch  for  which  is  in  the  Museum  at  Brussels. 

CARLIER,  MoDESTE,  a  Belgian  portrait  and 
subject  painter,  was  bom  at  Quaregnon  near  Mons 
in  1820.  He  was  a  pupil  of  Picot,  and  died  in 
1878.  In  the  Brussels  Museum  there  is  a  picture 
by  him  of  '  Locusta  experimenting  with  poison  on 
a  slave.' 

CARLIERI,  Alberto,  was  bom  at  Rome,  ac- 
cording to  Orlandi,  in  1672.  He  was  first  a  scholar 
of  Giuseppe  Marchi,  but  afterwards  was  in- 
structed by  Padre  Andrea  Pozzo.  He  excelled  in 
painting  architectural  views,  which  he  embelhshed 
with  very  beautiful  historical  figures.  He  died 
after  1720. 

CARLINI,  Agostino,  a  painter  and  sculptor,  was 
a  native  of  Genoa,  and  went  to  London  in  early 
life.  His  work  as  a  sculptor  was  much  esteemed. 
He  was  one  of  the  original  members  of  the  Royal 
Academy,  of  which  he  became  keeper  in  1783. 
He  exhibited  a  portrait  in  oil  in  1776.  He  died  in 
London  in  1790. 

CARLISLE,  Anne,  was  an  English  painter 
who  lived  in  the  time  of  Charles  I.,  and  is  said  by 
Walpole  in  his  '  Anecdotes '  to  have  been  admired 


for  her  copies  of  the  works  of  the  Italian  masters. 
She  died  about  the  year  1680. 

CARLISLE,  Isabella  Howard,  Countess  of, 
the  daughter  of  William,  fourth  Lord  Byron,  was 
born  in  1721.  She  married,  in  1743,  Henry,  fourth 
Eari  of  Cariisle,  who  died  in  1758.  In  1759,  she 
married  Sir  William  Musgrave,  Bart.,  and  died  in 
1795.  She  made  several  good  etchings;  amongst 
others,  copies  of  Rembrandt's  etchings. 

CARLO  delle  MADONNE.     See  Marat'ii. 

CARLONE,  Andrea,  the  son  of  Giovanni  Bat- 
tista  Carlone,  was  born  at  Genoa  in  1639.  After 
receiving  the  instruction  of  his  father  for  some 
time,  he  visited  Venice,  where  he  studied  for 
a  few  years,  and  then  returned  to  Genoa.  His 
first  productions  were  some  pictures  at  Perugia, 
and  the  Life  of  St.  Felician,  in  the  church  of 
that  saint  at  Foligno.  These,  inferior  in  grace 
and  colour  to  the  works  of  his  father,  less  happy 
in  composition,  and  less  elegant  in  design,  were 
painted  in  a  free,  resolute,  and  vigorous  style,  with 
a  mixture  of  the  Venetian  colouring.  He  went 
afterwards  to  Rome,  where  he  changed  his  manner 
for  one  more  noble  and  elevated,  and  so  superior 
to  his  first,  that  Lanzi  mentions  it  as  an  instance 
of  the  fallacy  of  forming  a  judgment  of  the 
merit  of  an  artist  by  a  partial  view  of  his  per- 
formances. "To  judge  of  Andrea  Carlone,"  says 
that  author,  "  by  his  works  in  the  church  of  the 
Gesii  at  Perugia,  we  could  with  difficulty  be  per- 
suaded that  he  was  capable  of  producing  those 
admirable  pictures  at  Genoa,  which  Ratti  numbers 
among  the  Genoese  works  of  art  most  worthy  of 
remembrance."  He  died  in  1697.  A  picture  of 
the  Magdalen  by  him  is  in  the  UfiSzi,  Florence. 

CARLONE,  Cajilo,  a  painter  and  engraver,  was 
probably  of  the  family  of  the  Carloni  of  Genoa. 
Fiissli,  in  his  '  Lives  of  the  Swiss  Painters,'  ob- 
serves that  the  family  of  Carloni,  so  fruitful  in 
able  artists,  although  generally  ranged  among  the 
Genoese  painters,  may  be  legitimately  claimed  as 
originally  of  Switzerland.  Carlo  Carlone  was  born 
at  Scaria,  near  Como,  in  the  Milanese,  in  1686.  He 
was  the  son  of  a  sculptor,  who  destined  him  for 
the  same  pursuit,  but  he  preferred  painting,  and 
was  placed  under  the  care  of  Giulio  Quaglio.  He 
afterwards  studied  at  Venice  and  at  Rome,  until  he 
was  twenty-three  years  of  age,  when  he  visited  Ger- 
many, where  he  has  left  works  in  oil  and  in  fresco 
at  Ludwigsburg,  PasSdU,  Linz,  Breslau,  Prague, 
and  Vienna.  In  the  last-named  city  some  of  his 
allegorical  representations  may  be  seen  in  the 
Belvedere,  as  also  a  religious  subject,  dated  1721, 
on  the  dome  of  the  chapel  in  the  castle.  He  died 
at  Como  in  1776.  Of  his  works  as  a  painter  little 
is  known  further  than  that  he  is  said  to  have 
possessed  an  inventive  genius  and  great  facility. 
As  as  engraver  he  has  left  us  the  following  plates, 
mostly  from  his  own  compositions  : 

The  Conception  of  the  Virgin. 

The  Holy  Family,  with  St.  John  kissing  the  Foot  of 

Jesus. 
St.    Charles  Borromeo    communicatiug    the    Plague. 

stricken. 
The  Death  of  a  Saint. 

An  allegorical  subject  of  Opulence,  for  a  ceiling. 
Another  subject  for  a  ceiling,  a  Figure  with  a  Crown. 
A  Group  of  Children,  with  a  Basket  of  Flowers. 

CARLONE,  Giovanni,  a  native  of  Genoa,  was 
bom  in  1590.  He  was  the  son  of  Taddeo  Carlone, 
a  sculptor  and  historical  painter,  who  placed  him 
under  the  tuition  of  Pietro  Sorri,  and  he   after- 

251 


A  BIOGRAPHICAL  DICTIONARY  OF 


wards  frequented  the  school  of  Domenico  Pas- 
Bignano,  at  Florence.  In  that  academy  he  became 
an  able  painter  in  fresco,  and  on  his  return  to 
Genoa  was  much  employed,  and  acquired  a  dis- 
tinguished reputation,  not  only  in  that  city,  but 
also  at  Rome  and  at  Florence,  where  he  after- 
wards travelled.  He  assisted  his  younger  brother, 
Giovanni  Battista  Carlone,  in  the  immense  fresco 
work  in  the  cathedral  of  the  Guastato  at  Genoa, 
and  was  invited  to  Milan  to  paint  the  ceiling 
of  the  church  of  the  Theatines,  which  he  did  not 
live  to  finish ;  it  was  completed  by  his  brother. 
He  composed  his  subjects  with  facility,  was  a 
correct  designer,  and  a  master  of  foreshortening. 
The  airs  of  his  heads,  though  somewhat  mannered, 
are  not  without  grace  ;  and  he  united  the  intelh- 
gence  of  the  chiaroscuro  with  a  vigorous  colour, 
perhaps  more  glowing  than  chaste.  He  died  at 
Milan  in  1630. 

CARLONE,    Giovanni    Battista,   an   eminent 
painter,   and    the  younger   brother   of   Giovanni 
Carlone,  was  bom  at  Genoa  in  1594.     He  was  also 
educated  under  Passignano  at  Florence,  and  after- 
wards joined  his  brother  in  the  great  works  on 
which  he  was  employed  at  Genoa.      The  chief 
result  of  their  united  exertions  is  to  be  seen  in  the 
cathedral  of  the  Guastato  at  Genoa,  where  the 
three   naves  are  painted   in  fresco   by  Giovanni 
Battista,  assisted  by  his  brother.     In  the  middle 
and  principal  nave  he  has  represented  the  '  Ador- 
ation of  the  Magi,'  the  '  Entrance  of  Christ  into 
Jerusalem,'  the  '  Resurrection,'  the '  Ascension,'  the 
'  Descent  of  the  Holy  Ghost,'  and  the  '  Assuinption 
of  the  Virgin ' — a  magnificent  work,  in  which  he 
has  introduced  all  that  could  be  conceived  by  a 
rich  and  fertile  imagination.   Novel  and  copious  in 
his   compositions,    his   figures    are    of    the   most 
graceful  contour,  his   heads  expressive  of   every 
variety  of  animation  and  beauty,   with  a  vague- 
ness, lucidity,   and   brilliancy   of   colouring   that 
astonishes  and  charms.     In  the  same  church  he 
painted   '  The   Presentation    in    the   Temple,'  and 
'Christ  preaching  to  the  Pharisees.'    Giovanni  Bat- 
tista lived  to  the  advanced  age  of  86,  and  died  in 
1680. 
CARLOTTO.    See  Loth,  Johann  Carl. 
CARLUCCIO  DELLE  MADONNE.    See  Maratti. 
CARMICHAEL,     James     Wilson,     a    marine 
painter,   was   born   at  Newcastle-on-Tyne    about 
1800.      From  constantly  seeing  so  much  shipping, 
he   obtained  at  an  early  age   great  accuracy   of 
drawing  in  this  line  of  art,  and  among  his  earliest 
paintings   produced    a   very    fine    picture,    '  The 
Heroic  Exploit   of  Admiral   Collingwood   at    the 
Battle   of   Trafalgar,'   which   was   placed   in   the 
Trinity  House,  Newcastle.     His  name  first  appears 
as   an  exhibitor  in  1838,  when  he  contributed  an 
oil  picture,  '  Shipping  in  the  Bay  of  Naples,'  to 
the   Society  of  British  Artists.      He  exhibited  at 
the  Royal  Academy  both  in  oil  and  water-colours, 
contributing   among   others,  in  1841,   "The  Con- 
queror towing  the  Africa  ofE  the  Shoals  of  Trafal- 
gar ; '   and,  in  1843,  '  The  Arrival   of  the  Royal 
Squadron.'    He  was  the  author  of  the  series  of  '  Eng- 
lish Coast  Views  from  the  Mouth  of  the  Thames 
to  the  Frith  of  Forth.'     He  resided  in  his  native 
town  up  to  about  1845,  when  he  removed  to  Lon- 
don, where  he  was   already  known  as   a   skilful 
marine  painter.     At  the   commencement  of  the 
Russian  war  he   proceeded   on  board  one  of   her 
Majesty's  ships  to  the  Baltic  ;    and  on  his  return 
several  of  the  sketches  made  by  him  during  his 
252 


absence  were  published  as  engravings  in  the 
'  Illustrated  London  News.'  He  afterwards  re- 
moved to  Scarborough,  where  he  died  in  1868. 
He  published  '  The  Art  of  Marine  Painting  in 
Water-Colours'  in  1859,  and  'The  Art  of  Marine 
Painting  in  Oil-Colours'  in  1864. 

CARMIENCKE,  Johann  Hermann,  a  landscape 
painter  and  etcher,  was  bom  at  Hamburg  in 
1810.  He  went  to  Dresden  in  1831  as  a  journey- 
man painter,  and  while  there  studied  in  Dahl's 
school.  Thence  he  went  to  Copenhagen  in  1834, 
where  he  studied  Ln  the  Academy,  and  presently 
repairing  to  Leipsic,  received  instruction  there 
from  Schonberg.  Returning  to  Copenhagen  in 
1838,  he  proceeded  to  travel  as  an  artist  in  Sweden, 
Bavaria,  and  the  Tyrol,  visiting  Italy  from  1845 
to  1846.  He  was  then  appointed  court  painter 
to  Christian  VIII.,  for  whom  he  executed  many 
works.  In  consequence  of  the  war,  he  went  in 
1851  to  New  York,  where  he  was  well  received, 
and  admitted  into  the  Academy  of  Brooklyn.  His 
works  were  mainly  groups  of  mountain  ranges, 
which  were  very  effectively  rendered,  and  pos- 
sessed an  excellent  tone — the  execution  being  sim- 
ple and  true  to  nature.  The  '  Mountain  Tarn '  and 
the  '  View  on  the  ZiUerthal '  may  be  particularly 
noticed.  There  are  thirty-five  careful  etchings  of 
landscapes  by  him,  some  of  which  were  published 
bv  the  Art  Association  of  Copenhagen  in  1850  and 
1851.     He  died  at  New  York  in  1867. 

CARMONA,    Ana,   was    the   daughter  of    the 

painter  Raphael  Mengs,  and  was  bom  at  Dresden 

in    1751.      She    married    the    Spanish    engraver 

Manuel  Salvador  Carmona,  and  died  at  Madrid  in 

1790.      She  produced  some  excellent  portraits  in 

pastel  and  miniature :    that  of  her  husband  is  in 

the  Academy  of  San  Fernando. 

CARMONA,  Manuel.    See  Salvador  Carmona. 

CARMONTELLE,   Loais,   originally  Carrogis, 

was  a  French  amateur  draughtsman  and  engraver, 

and   the  author  of  the   '  Proverbes  dramatiques,' 

who  was   born   in   Paris   in   1717.       He  was  the 

son  of  one  Philippe  Carrogis,  a  shoemaker,  and  took 

the  name  of  Carmontelle,  possibly  to  conceal  his 

humble  birth.     He  produced  a  considerable  number 

of  portraits  of  eminent  persons  of  his  day,  which 

were  mostly  in  profile,  and  highly  characteristic. 

He  died  in  Paris  in  1806.     Carmontelle  has  left  us 

an  engraving  of  '  The  Flower-Girl,'  after  Boucher, 

and  the  five  following  portraits  engraved  after  his 

own  drawings  : 

The  Abb6  Allaire. 

The  Baron  de  Bezenval. 

The  Duke  of  Orleans  and  his  Son. 

Rameau,  the  Musician. 

Francois  Marie  Arouet  de  Voltaire. 

CARNEIRO.     See  Salva  Carneiro. 

CARNICERO,  Antonio,  a  painter,  engraver,  and 
etcher,  was  bom  at  Salamanca  in  1748.  He  was  a 
son  of  the  sculptor  Alexandre  Carnicero.  He  studied 
at  Rome,  and  was  eventually  appointed  painter  in 
ordinary  to  the  king.  He  issued  in  1780  at  Madrid 
an  illustrated  edition  of  '  Don  Quixote,'  with  engrav- 
ings from  his  own  designs,  and  in  1791  another  work 
with  portraits  of  celebrated  Spaniards.  There  is 
by  him  in  the  Madrid  Gallery  'A  Scene  on  the 
Lake  of  Albufera,'  and  we  have  also  by  hini  an 
engraving  of  a  bull-fight  in  Madrid,  dated  1791. 
He  died  at  Madrid  in  1814.  His  brother  Isiddeo 
was  director  of  the  Academy  in  1800. 

CARNIO,  Antonio,  a  native  of  Portogruaro, 
a  district  of  Friuli,  was  the  eon  of  an  artist  little 


PAINTERS  AND  ENGRAVERS. 


known,  by  whom  he  was  instructed  in  the  elements 
of  art.  He  afterwards  studied  at  Venice  the 
worlis  of  Tintoretto  and  Paolo  Veronese.  Accord- 
ing to  Lanzi,  Friuli  has  not  produced  a  greater 
genius  than  Carnio  since  the  time  of  Pordenone. 
The  composition  of  his  historical  subjects  is  in- 
genious and  novel,  and  his  design  lofty  and  bold. 
His  colouring,  especially  in  his  carnations,  is 
tender  and  harmonious.  Some  of  his  best  works 
at  Udine  have  been  much  injured  by  retouching. 
The  best  preserved  is  his  '  St.  Thomas  of  Villa- 
nuova  '  in  Santa  Lucia.  He  painted  many  easel 
pictures  and  portraits  for  the  private  collections  at 
Udine.     He  was  living  in  1680. 

CARNOVALE,  Era.     See  Corradini. 

CARNOVALE,  Domenico,  was,  according  to 
Vidriani,  a  native  of  Modena,  where  he  flourished 
about  the  year  1564.  He  excelled  in  painting 
architectural  views,  with  figures,  which  he  intro- 
duced with  great  propriety.  He  was  also  a  reput- 
able architect.  A  specimen  of  his  style  may  be 
seen  in  Rosini,  plate  xciii.  Wonderful  things  are 
related  of  his  skill  in  architectural  painting,  and 
of  the  illusion  produced ;  the  parallels  are  to  be 
found  in  like  stories  recorded  of  Zeuxis  and  Par- 
rhasius. 

CARNULI,  Fra  Simone  da,  was  a  Franciscan 
monk  of  Genoa.  He  flourished  about  the  year 
1519,  and  painted  several  pictures  for  his  convent, 
two  of  which,  representing  '  The  Last  Supper,'  and 
'  The  Preaching  of  St.  Anthony,'  possessed  great 
merit;  they  are  dated  in  1519.  His  manner,  with 
respect  to  his  figures,  is  not  quite  divested  of  the 
dryness  that  prevailed  at  his  time  ;  but  he  painted 
architectural  designs  and  bird's-eye  views  with 
small  figures  which  are  estimable  for  their  aerial 
perspective. 

CARO,  Francisco,  was  the  son  of  Francisco 
Lopez  Caro,  and  bom  at  Seville  in  1627.  He 
received  his  first  instructions  from  his  father,  but 
afterwards  went  to  Madrid  and  entered  the  school 
of  Alonso  Cano.  According  to  Palomino  his 
principal  works  are  the  pictures  of  '  The  Life  of 
the  Virgin,'  in  the  chapel  of  San  Isidore  in  the 
church  of  St.  Andrew,  and  the  celebrated  '  Porciun- 
cula,'  in  the  church  of  San  Francisco  at  Segovia, 
both  of  which  show  considerable  talent,  and 
sustain  the  reputation  of  the  school  of  Cano.  He 
died  at  Madrid  in  1667. 

CARO,  Francisco  Lopez.    See  Lopez  Card. 

CARO  DE  TAVIRA,  Juan,  a  Spanish  painter, 
who  flourished  in  the  17th  century,  was  a  native 
of  Carmona  and  disciple  of  Zurbaran.  He  died 
young,  but  his  early  promise  procured  him  the 
cross  of  Santiago  from  Philip  IV.  None  of  his 
works  remain. 

CAROLI,  Baldassare,  was  probably  a  pupil  of 
Palmezzano,  and  a  disciple  of  Rondinello.  He 
lived  in  the  16th  century,  and  was  the  author  of 
a  '  Coronation  of  the  Virgin,  with  Saints '  (amongst 
whom  is  St.  Mercuriale),  signed  and  dated  1612, 
and  now  in  the  Communal  Gallery  of  Forli.  Other 
paintings  by  him  can  be  seen  in  the  churches 
of  Forli  and  Ravenna.  No  dates  are  known  as  to 
his  birth  or  death. 

CAROLIS,  Raffaellino  de.    See  Capponi. 

CAROLSFELD,  Schnorr  von.  See  Schnorr 
von  Karolsfeld. 

CAROLUS,  LuDOVicns  Antonius,  a  Belgian 
painter  of  historical  and  genre  subjects,  was  born 
at  Antwerp  in  1814.  He  studied  under  Eeckhout 
and   F.    de   Braekeleer,   and  from   1831   to   1834 


worked  in  the  studio  of  E.  Le  Poitevin  at  Paris, 
whence  he  returned  to  Antwerp  in  1836.  He  died 
in  his  native  city  in  1865.  His  pictures  of  the 
everyday  life  of  the  15th  and  16th  centuries  are 
esteemed  for  their  accuracy  of  costume  and  excel- 
lent colouring. 

CARON,  Adolphe  Alexandre  Joseph,  was  a 
French  engraver,  bom  at  Lille  in  1797.  He 
studied  his  art  under  Lair  and  Bervic,  and  won  the 
first-class  medal  at  the  Salon  of  1846.  There  is  an 
engraving  by  him  of  Ary  SchefEer's  picture  of 
'  Faust  and  Margaret,'  but  his  best  production  is 
'The  Virgin,  with  St.  Catharine  and  St.  Rosa,' 
after  Perugino.  He  also  engraved  portraits  of  the 
Duchess  de  Berry  and  her  children,  after  Gerard, 
and  of  Madame  de  Sevign^,  after  Dev^ria.  He 
died  at  Clamart  in  1867. 

CARON,  Antoine,  a  French  historical  and  por- 
trait painter,  was  born  at  Beauvais  about  1515. 
In  1540  and  in  1559  he  was  working  at  Fontaine- 
bleau  under  the  orders  of  Primaticcio,  and  in  1573 
he  executed  the  decorative  paintings  on  the  occa- 
sion of  the  entry  into  Paris  of  Henry,  Duke  of 
Anjou,  the  elected  King  of  Poland,  who  in  the 
next  year  became  King  of  France.  His  pictures 
have  all  perished,  but  there  still  exists  in  the 
National  Library  at  Paris  a  series  of  drawings  by 
him  known  as  the  '  History  of  Artemisia,'  which 
represent  scenes  in  the  life  of  Catharine  de'  Medici. 
He  was  one  of  the  masters  and  the  father-in-law 
of  Thomas  de  Leu,  the  engraver,  and  died  in 
Paris  about  1593,  aged  78. 

CARON,  Jean  Lodis  TonssAiNT,  a  French  en- 
graver, was  born  in  Paris  in  1790.  He  studied 
under  Coiny,  Regnault,  and  Lignon.  His  best  pro- 
ductions were  '  Le  Famille  Inaigente,'  after  Prud'- 
hon,  and  'The  Lsvite  of  Mount  Ephraim,'  after 
Couder.     He  died  in  Paris  in  18.32. 

CARON,  Nicolas,  was  an  engraver  bom  at 
Amiens  in  1700.  According  to  Heinecken  he 
studied  under  Papillon,  who  liad  a  high  opinion  of 
his  powers.  An  accident  led  to  his  imprisonment, 
and  he  died  in  the  Conciergerie  in  1768.  A  por- 
trait of  his  master  is  to  be  found  as  a  frontispiece 
to  a  work  entitled  'Traits  de  la  Gravure  en  Bois.' 

CARONNI,  Paolo,  was  an  engraver  born  at 
Monza  about  1779.  He  was  one  of  Longhi's  best 
pupils,  and  produced  many  engravings  of  merit. 
He  died  at  Milan  in  1842.  Amongst  his  plates 
may  be  noticed  : 

The  Vision  of  Ezekiel ;  after  Raphael.     1825. 
Alexander  and  Darius ;  after  Le  Brun.     1818. 
Venus  suckling  the  Infant  Cupid  ;  after  Parmigiano. 
Venus  stealing  Cupid's  Bow  ;  after  Procaccini, 
The  Virgin  and  Child  ;  after  Sassoferrato. 
The  Triumph  of  David ;  after  Domenichino. 
A  Portrait  of  Raphael  Morghen. 

CAROSELLI,  Angiolo,  was  born  at  Rome  in 
1585.  He  studied  under  Michel  Angiolo  da  Cara- 
vaggio,  of  whose  works,  as  well  as  of  those  of 
other  masters,  he  became  a  successful  imitator. 
He  possessed  a  talent  of  copying  with  astonishing 
precision,  and  in  painting  pusticci  in  imitation  of 
various  styles.  His  large  works  in  the  churches 
are  '  The  Martyrdom  of  St.  Placidus,'  and  '  St.  Gre- 
f;ory  celebrating  Mass  before  a  Concourse  of 
People,'  in  Santa  Francesca  Roniana  ;  and  '  St.  Wen- 
ceslaus '  in  the  Pontifical  Palace  of  the  Quirinal. 
His  lesser  works  were  chiefly  portraits  or  paint- 
ings in  which  the  figures  were  small,  two  speci- 
mens of  which  ma  be  seen  in  the  Belvedere  at 
Vienna.     He  died  in  1653. 

253 


A  BIOGKAPHICAL  DICTIONARY  OF 


CAKOT,  — .  According  to  Strutt  this  artist  re- 
sided at  Rome  about  1685,  and  is  the  engraver  of  a 
small  upright  plate  representing  '  St.  Francis  hold- 
ing a  Cross.'  This  is  etched  in  a  bold,  spirited 
style,  and  appears  to  have  been  the  production  of 
a  painter. 

CAROTTO,  Giovanni,  (or  Caroto,)  was  the 
brother  of  Giovanni  Francesco  Carotto,  and  his 
assistant.  In  San  Paolo,  Verona,  is  a  '  Virgin  and 
Child,'  signed  and  dated  1513,  and  the  Museum  of 
the  same  city  possesses  a  '  Madonna  and  Child, 
with  SS.  Lawrence  and  Jerome.'  The  churches  of 
San  Giovanni  in  Fonte,  and  San  Stefano,  both  in 
Verona,  have  also  Madonnas,  with  Saints,  by  this 
artist.  He  lived  to  the  age  of  about  sixty,  but  no 
dates  can  be  given  of  either  iiis  birth  or  death. 

CAROTTO,  Giovanni  Fkancesco,  (or  Caroto,) 
was  bom  at  Verona  in  1470 ;  he  was  first  apprenticed 
to  Liberale,  but  afterwards  went  to  Mantua,  where 
he  entered  Mantegna's  workshop,  and  closely  imi- 
tated the  style  of  that  master.  The  Gallery  of 
Modena  possesses  a  '  Virgin  and  Child,  with  an  in- 
fant John  the  Baptist,'  of  that  period,  and  similar 
subjects  painted  by  him  in  these  early  years  of 
his  life  are  also  to  be  found  in  the  Museums  of 
Frankfort  and  Berlin.  Shortly  before  1608  he 
returned  to  Verona,  where  he  painted  the  fres- 
coes of  the  church  of  San  Tommaso  Cantuariense. 
The  frescoes  in  the  Spolverini  Chapel,  in  Sant" 
Eufemia,  at  Verona,  representing  scenes  from 
the  history  of  Tobit,  are  amongst  his  best  produc- 
tions. He  paid  visits  to  both  Milan  and  Casale, 
where,  according  to  Vasari,  he  worked  for  the 
Visconti  and  Montferrat  families.  Many  of  the 
galleries  and  churches  of  Verona  and  Mantua  pos- 
sess paintings  by  him  ;  in  San  Giorgio,  Verona, 
besides  other  paintings  and  frescoes,  is  a  '  Glory 
of  the  Virgin,'  signed  and  dated  1645.  He  died  at 
Verona  in  1546. 

CARPACCIO,  Benedetto,  who  is  considered  by 
Lanzi  to  have  been  a  relation  of  Vittore  Carpaccio, 
lived  in  the  16th  century.  Of  his  birth  and  death 
no  dates  are  known,  but  there  are  paintings  by  him 
existing  executed  from  1523  to  1541.  The  Cathe- 
dral of  Capo  d'Istria  has  a  '  Massacre  of  the 
Innocents,'  dated  1523,  and  '  The  Name  of  Christ 
adored  by  Saints,'  dated  1541 ;  and  in  the  Galleria 
Comunale  of  the  same  place  is  a  '  Coronation  of 
the  Virgin,'  dated  1637. 

CARPACCIO,  Vittore,  (or  Cakpatiits,)  is  said 
to  have  been  born  about  1450  in  Istria,  but  the 
documentary  proofs  are  wanting.  He  has  been 
called  in  contemporary  records  '  Scarpaza,'  and  by 
Vasari  '  Scarpaccia.'  He  was  a  follower  of  Gentile 
Bellini,  and  was  employed  at  the  school  of  San 
Girolarao,  Venice,  at  the  same  period  with  Luigi 
Vivarini  and  Giovanni  Bellini,  but  all  pictures  of 
this  religious  corporation  have  entirely  disappeared. 
After  1490  he  finished,  in  the  school  of  St.  Ursula, 
nine  pictures  taken  from  the  life  of  that  saint,  aU 
of  which  are  now  in  the  Academy  of  Venice.  At 
the  close  of  the  15th  century  he  painted  his 
'  Patriarch  of  Grado  casting  out  a  Devil  by  the  aid 
of  the  Relic,'  for  the  school  of  San  Giovanni 
Evangelista.  This  picture  gives  an  admirable  view 
of  old  Venice,  as  it  stood  at  the  close  of  the  15th 
century ;  the  date  of  its  execution  has  been  said 
to  be  1494,  but  the  written  proofs  are  missing  ;  it 
is  now  in  the  Academy  of  Venice.  In  San  Giorgio 
de'  Schiavoni  (a  Hospital  for  Seamen)  are  ten 
decorative  canvases,  with  designs  taken  from  the 
lives  of  SS.  Jerome,  Tryphon,  and  George,  '  Christ 

254 


on  the  Mount,'  and  '  Christ  invited  to  the  Pharisee's 
Feast,' and  an  altar-piece,  representing  the  Madonna. 
These  pictures  were  painted  by  Carpaccio  for  the 
Hospital,  re-erected  in  1500,  the  designs  being 
completed  in  the  years  1502 — 1508.  In  the  last- 
named  year  he  was  chosen  with  Lazzaro  Sebastian! 
and  Vittore  di  Matteo,  by  Giovanni  Bellini,  to 
value  the  frescoes  of  Giorgione  at  the  Fondaco  de' 
Tedeschi  ;  and  he  soon  afterwards  executed  his 
chef-d'oeuvre  of  '  The  Presentation  in  the  Temple,' 
for  San  Giobbe,  now  in  the  Venice  Academy.  In 
the  years  1511 — 1515  he  finished  for  the  school  of 
San  Stefano  '  The  Calling  of  St.  Stephen,'  of  1511 
(now  in  the  Berlin  Gallery) ;  '  St.  Stephen  preach- 
ing' (at  the  Louvre)  ;  '  St.  Stephen  disputing  with 
the  Doctors,'  of  1514  (at  the  Brera,  Milan)  ;  and 
'  The  Martyrdom  of  St.  Stephen,'  of  1515  (now  in 
the  Gallery  of  Stuttgart).  He  painted  in  1515  a 
design  representing  '  The  Indulgence  of  St.  Mark,' 
for  the  Great  Council  Hall  that  was  burnt  in  1577. 
He  executed  in  1514  a  large  altar-piece  for  San 
Vitale,  Venice,  which  represents  '  St.  Vitale  on 
Horseback,  attended  by  his  wife  Valeria,  and 
Saints' ;  and  in  1515  he  finished  for  the  Prior  of 
Sant'  Antonio  of  Castello  the  altar-piece  of  '  Cruci- 
fied Saints,'  now  in  the  Venice  Academy.  In  1519 
were  painted  the  two  altar-pieces  of  Madonnas  and 
Saints  in  the  Cathedral  at  Capo  d'Istria,  and  the 
church  of  Pozzale,  near  Cadore.  After  this  date 
no  further  works  of  his  are  known,  and  it  is  pro- 
bable that  his  death  occurred  soon  after  1522. 
Many  paintings  by  this  artist  still  exist ;  amongst 
those  not  mentioned  above  are  : 

Berlin.        Galleri/.        Madonna  and  Child  with  Saints. 
Cheshire.  Brockhbank  )  ^,^^^  ^^^  j ^^  Disciples  (signed). 

Death  of  the  Virgin.     1508. 
Fragment,  Finding  of  the  True 
Cross. 

Frankfort  a  M.  Madonna. 

London.      Ifat.  Gall.     Virgin   and   Child,   with    Saints, 
adored  by  the  Doge  Giovanni 
Mocenigo. 
Milan.         Brera.  St.  Stephen  preaching. 

,,  „  Presentation  and  Marriage  of  the 

Virgin. 
,,  Poldi  Pezzoli.  Samson  (':'). 

Paris.  Louvre.         St.  Stephen  preaching. 

Stuttgart.  Museum.       Glorification  of  St.  Thomas  Aqui- 
nas.    1507. 
„  „  Martyrdom  of  St.  Stephen. 

Venice.       St.  Vitale.     St.  Vitalis  on  Horseback,  adoring 
the  Vh-gin.     1514. 
„  Academy.      Meeting  of    St.    Anne    and   St. 

Joachim.     1515, 
„  „  Cure  of  a  lunatic,  the  Rialto  in 

the  background. 
„  Museo  Ccrrer.  Visitation. 

„  „  Two  Courtesans. 

„    Palazzo  Ducale.  The  Lion  of  St.  Mark  in  a  Land- 
scape.   1516. 
Vienna.      Gallery.        The  Annunciation.     1504. 

„  „  Christ  adored  by  Angels.    1496. 

CARPENTER,  Margaret  Sarah,  who  was  the 
daughter  of  Captain  Geddes,  was  born  at  Salis- 
bury in  1793.  She  first  studied  art  from  Lord 
Radnor's  collection  at  Longford  Castle,  and  com- 
peted successfully,  for  two  or  three  years,  for  the 
prizes  at  the  Society  of  Arts,  obtaining  on  one 
occasion  the  gold  medal.  She  went  to  London  in 
1814,  established  herself  as  a  portrait  painter,  and 
secured  great  reputation.  In  that  year  she  first 
exhibited  at  the  Royal  Academy  a  portrait  of  Lord 
Folkestone,  and  at  the  British  Institution  the  '  For- 
tune-Teller'  and    'Peasant    Boy.'     In   1817   she 


Ferrara.      Museum. 
Florence.     Vffizi. 


VITTORE   CARPACCIO 


A  nderso'i  photo] 


THE  DREAM  OF  ST.   URSULA 


\_AccadeJinij,  I'aiio 


VITTORE  CARPACCIO 


A/iiicrsofi  phofo\ 


ST.  URSULA  AND  THE  POPE 


[^Accademia,  I  'aiice 


PAINTERS  AND  ENGRAVERS. 


married  Mr.  W.  H.  Carpenter,  Keeper  of  the  Prints 
and  Drawings  in  the  British  Museum,  upon  whose 
death,  in  1866,  Her  Majesty  conferred  upon  her  a 
pension  of  £100  per  annum.  She  died  in  London 
in  1872.  Mrs.  Carpenter  is  chiefly  known  as  a 
painter  of  portraits,  amongst  which  may  be  men- 
tioned those  of 

Lord  Kilccursie  and  Lady  Sarah  de  Crespigny,  1812. 
Lord  Folkestone,  1814.  Mr.  Baring,  1815.  Sir  Henry 
Bunbury,  1822. "  Lady  Eastnor,  1825.  Lord  de 
Tabley,  1829.  Mr.  Justice  Coleridge,  1830.  Lady 
Denbigh,  1831.  Mrs.  Herries,  1832.  Lady  King, 
daughter  of  Lord  Byron,  1835.  Archbishop  Sumner, 
1852.    Lord  John  Manners.     Dr.  Whewell. 

Her  portraits  of  Richard  Parkes  Bonington,  the 
painter,  John  Gibson,  R.A.,  the  sculptor,  and 
Patrick  Eraser  Tytler,  the  historian,  are  in  the 
National  Portrait  Gallery.  She  also  produced  a 
few  fancy  subjects,  of  which  there  are  two  ex- 
amples in  the  South  Kensington  Museum — '  Devo- 
tion '  (a  portrait  of  Anthony  Stewart,  the  miniature 
painter),  exhibited  at  the  British  Institution  in 
1822  ;  and  '  The  Sisters,'  portraits  of  the  artist's 
two  daughters,  exhibited  in  1840. 

_  CARPENTERO,  Johannes  Carolhs,  a  Flemish 
historical  painter,  born  at  Antwerp  in  1784,  studied 
under  Van  den  Bosch  and  Mattheus  van  Bree. 
Besides  historical  pictures,  he  painted  landscapes 
with  cows  and  sheep,  taking  Omraeganck  for  his 
model.     He  died  at  Antwerp  in  1823. 

CARPENTIERS,  Adrien,  (or  Charpenti6ee,) 
was  a  native  of  Switzerland  who  settled  in  England 
as  a  portrait  painter  about  1760,  and  from  that  year 
until  1774  was  a  frequent  exhibitor  at  the  Society 
of  Artists  in  Spring  Gardens.  One  of  his  best 
works  is  the  portrait  of  Roubilliac,  the  sculptor, 
now  in  the  National  Portrait  Gallery,  of  which 
there  is  a  good  mezzotint  by  David  Martin.  He 
died  in  London  about  1778,  at  an  advanced  age. 

CARPI,  GiROLAMO  DA,  Was  born  at  Perrara  in 
1501,  and  was  educated  under  Benvenuto  Garofolo. 
On  leaving  the  school  of  that  master,  he  passed 
some  time  at  Bologna,  where  he  was  much  em- 
ployed in  portrait  painting.  He  afterwards  visited 
Parma  and  Modena,  where  he  was  so  fascinated 
with  the  works  of  Correggio  and  Parmigiano,  tliat 
he  applied  himself  to  study  and  copy  them  with 
great  assiduity.  He  is  not,  however,  to  be  con- 
sidered only  as  a  copyist.  He  painted  many 
pictures,  of  his  own  composition,  for  the  churches 
at  Ferrara  and  Bologna.  At  Ferrara,  in  the  Cathe- 
dral, are  three  pictures  by  him  of  the  Madonna, 
St.  George,  and  St.  Maurice.  At  the  Carmelites 
is  his  picture  of  '  St.  Jerome  ; '  and  in  Santa  Maria 
del  Vado  one  of  his  finest  works,  representing  a 
'Miracle  wrought  by  St.  Anthony  of  Padua.'  For 
the  church  of  San  Francesco,  at  Rovigo,  he  painted 
a  picture  of  the  '  Pentecost ; '  and  at  Bologna  his 
two  most  celebrated  productions,  the  '  Adoration 
of  the  Magi,'  for  San  Martino  Maggiore,  and 
the  '  Madonna  and  Child,  with  St.  Catharine  and 
other  Saints,'  for  San  Salvatore.  In  the  two  last 
he  displays  a  mixture  of  the  Roman  and  the 
Lombard  styles.  He  also  painted  for  some 
time  in  Rome.  He  died  at  Ferrara  in  1556.  The 
Dresden  Gallery  possesses  a  '  Venus  and  Cupid,'  by 
him. 
CARPI,  Marco  da.  See  Meloni. 
CARPI,  Ugo  da,  a  painter  and  engraver,  de- 
scended from  the  ancient  family  of  the  Counts  of 
Panico,  was  the  tenth  child  of  Count  Astolfo  da 
Panico.    The  year  of  his  birth  is  uncertain.     In  the 


petition  to  the  senate  of  Venice,  in  1516,  to  grant 
him  protection  from  piratical  imitators  of  his  prints, 
he  is  said  to  be  in  advanced  age,  venuto  all'  eth  senile, 
which  induces  Passavant  to  put  the  date  of  his 
birth,  which  has  been  usually  stated  to  have  taken 
place  in  1480,  hack  to  1450.  He  died  probably  in 
Rome  in  1520. 

Vasari  styles  him  a  mediocre  painter,  hut  great 
in  drawing ;  and  although  there  exists  an  agreement 
between  Carpi  and  Saccacini  to  execute  an  exten- 
sive work  between  them,  no  authentic  paintings 
remain  from  his  hand,  his  celebrity  resting  entirely 
on  his  wood-engravings,  which  were  executed  by 
successive  printings  from  various  blocks  of  different 
shades,  by  which  were  produced  completer  effects 
than  those  of  ordinary  woodcuts.  This  was  called 
chiaroscuro,  a  name  still  given  to  it,  and  was  in 
fact  a  simple  form  of  our  modern  chromo-printing. 
Carpi  claimed  in  his  petition  to  the  Doge  and  Senate 
to  have  been  the  inventor  of  the  method,  but  as  no 
example  by  him  exists  with  a  date  to  compete  with 
the  chiaroscuro  issued  at  Augsburg  by  Jost  de 
Necker  in  1510,  and  his  claim  was  only  made  in 
1516,  he  seems  to  have  no  certain  claim  to  the  inven- 
tion. _  The  more  the  subject  is  investigated,  the  more 
certain  it  seems  that  all  forms  of  engraving,  as  of 
printing,  originated  in  Germany.  His  works  are 
numerous,  and  are  confused  with  those  of  Boldrini. 
Bis  known  works  are  after  Raphael  and  Parmigiano  ; 
sometimes  they  are  of  a  large  size.  As,  however, 
they  are  not  signed,  and  are  identified  with  difB- 
culty,  it  is  not  necessary  to  enumerate  many. 

Descent  from  the  Cross ;  after  Raphael. 

St.  John  in  the  Wilderness  ;  after  the  same. 

The  Miraculous  Draught  of  Fishes ;  after  the  same. 

Death  of  Ananias  ;  after  the  f^anw. 

Elyraas  struck  witk  Blindness  ;  after  the  same. 

A  Sibyl  reading,  with  a  Child  holding  a  torch  to  light 

her ;  after  the  same.    A  rare  print,  copied  by  Coriolano 

as  one  of  a  set. 
Diogenes;  after  Parmigiano. 
SS.  Paul  and  Peter ;  very  small ;  after  the  same. 

See  'Di  Ugo  da  Carpi  e  dei  Conti  da  Panico,' 
Bologna,  1854,  by  Gualandi ;  Passavant,  vol.  vi.  ; 
Bartsch,  vol,  xii.  Tfi  jj,  g. 

CARPINONI,  DoMENico,  a  Bergamese  painter, 
was  bom  at  Clusone,  in  the  Valle  Seriana,  in  1566. 
He  was  sent  to  Venice  when  young,  and  became  a 
scholar  of  the  younger  Palma.  In  the  early  part  of 
his  life  he  was  occupied  in  copying  the  works  of 
Palma  and  Bassano ;  he  afterwards  painted  some 
pictures  of  his  own  composition,  wliich,  according 
to  Tassi,  are  vigorously  coloured,  and  tolerably 
correct  in  design.  In  the  principal  church  of 
Clusone  is  a  picture  by  him  of  the  '  Birth  of  St. 
John  the  Baptist,'  and  a  '  Descent  from  the  Cross  ; ' 
in  the  Chiesa  di  Monesterolo,  in  the  Valle  Caval- 
lina,  is  a  picture  of  '  The  Transfiguration  ; '  and  at 
Lovere,  in  the  church  of  the  Padri  Osservanti,  'The 
Adoration  of  the  Magi.'     He  died  in  1658. 

CARPINONI,  Mamiale,  the  grandson  of  Do- 
menico  Carpinoni,  was  born  at  Clusone  about  1644. 
According  to  Tassi,  he  was  taught  the  first  prin- 
ciples of  art  by  his  father,  an  artist  of  little  note, 
but  afterwards  had  the  advantage  of  the  instruc- 
tion of  his  grandfather.  He  was  afterwards  sent 
to  Rome  for  improvement,  where  he  frequented  the 
school  of  Giro  Ferri.  He  painted  historical  sub- 
jects with  no  small  success,  and  was  employed  for 
the  churches  of  his  native  town  and  the  vicinity. 
In  the  principal  church  at  Clusone  is  the  '  Virgin 
and  Child,  with  Saints,'  by  this  painter,  and  '  The 

255 


A  BIOGRAPHICAL  DICTIONARY  OF 


Baptism  of  Christ  by  St.  John ; '  and  in  the  cathe- 
dral at  Bergamo,  SS.  Domno,  Domneone,  and 
Eusebia.  He  also  painted  several  pictures  for 
the  churches  in  Brescia.  He  died  at  Ferrara  in 
1722. 

CARPIONI,  Carlo,  the  son  of  Giulio  Carpioni, 
was  bom  about  the  middle  of  the  17th  century. 
He  was  educated  by  his  father,  after  whose  style 
he  painted  a  few  pictures,  but  he  is  better  known 
by  his  portraits.  In  the  Council-chamber  at  Vi- 
cenza  and  in  the  convent  of  the  Servites  at  Monte 
Berico  there  are  some  groups  of  portraits  of  magis- 
trates, which  show  a  truthful  resemblance,  and  an 
ingenious  and  elevated  imagination. 

CARPIONI,  Giulio,  was  bom  at  Venice  in  1611. 
He  was  a  scholar  of  Alessandro  Varotari,  called 
Paduanino,  but  followed  more  the  style  of  Can- 
tarini.  He  was  superior  to  his  fellow-student 
Mafiei  in  vigour,  expression,  and  invention.  He 
painted  history  and  bacchanals,  and  also  sacred 
subjects  of  a  small  size,  many  of  which  are  to  be 
seen  in  the  churches  in  the  Venetian  states.  His 
fabulous  subjects  are  placed  with  distinction  in  the 
private  collections  of  his  country,  and  are  touched 
with  a  spirit,  and  coloured  with  a  beauty  of  tint- 
ing, which  his  master  would  not  have  disavowed. 
Paintings  by  him  may  be  seen  in  the  Galleries  of 
Augsburg,  Dresden,  Vienna,  Modena,  and  Florence. 
He  was  also  an  etcher ;  his  best  plates  being  '  St. 
Anthony  of  Padua,'  '  Christ  on  the  Mount  of 
Olives,'  'The  Virgin  reading,'  and  'The  Virgin 
with  the  Rosary.'     He  died  at  Verona  in  1674. 

CARR,  Johnson,  a  pupil  of  Wilson,  was  bom  in 
1743.  fie  gave  promise  of  being  a  good  landscape 
painter,  when  be  died  in  1765.  His  chalk  drawings 
possess  considerable  merit. 

CARR,  R,  practised  as  an  etcher,  in  imitation  of 
Hollar,  in  England,  towards  the  close  of  the  seven- 
teenth century. 

CARR,  Rev.  William  Holwell,  who  was  born 
in  1750,  and  died  in  1830,  practised  landscape 
painting  as  an  amateur ;  he  exhibited  occasion- 
ally at  the  Royal  Academy  from  1797  till  1820. 
He  bequeathed  thirty-three  paintings  to  the 
National  Gallery,  including  his  own  portrait  by 
Jackson,  and  a  fine  picture  by  Luini. 

CARRACCI  FAMILY. 


Antonio  (tailor).- 

L 


-LodoTico  (166S-1619). Paolo. 


I  I 

A^ostino  (1567—1602).    Annibale  (1560—1609).    Qiovaimi  Antonio. 


Antonio  Marziale  (15S3— 161S). 


Francesco  (1595—1622). 


CARRACCI,  Agostino,  painter,  engraver,  poet ; 
the  nephew  of  Lodovico,  and  the  elder  brother  of 
Annibale  Carracci,  was  born  at  Bologna  in  1557.  He 
was  intended  by  his  father  for  the  business  of  a 
goldsmith,  a  profession  then  nearly  coimected  with 
the  art  of  engraving,  and  at  the  age  of  fourteen  he 
had  engraved  some  plates  in  the  style  of  Comelis 
Cort,  when  Lodovico  persuaded  him  to  study  paint- 
ing. He  became  a  scholar  of  Prospero  Fontana, 
and  he  afterwards  studied  under  Bartolommeo 
Passerotti.  On  leaving  the  school  of  Passerotti, 
Agostino,  together  with  his  brother  Annibale, 
passed  some  time  at  Parma,  where  they  studied 
■with  attention  the  works  of  Correggio  and  Parmi- 
giano.  He  afterwards  went  to  Venice,  where  he 
had  an  opportunity  of  perfecting  himself  in  en- 
graving under  Cornells  Cort,  by  whose  instruction 
he  became  one  of  the  most  distinguished  engravers 
of  his  country.  Excellent  as  a  designer,  he  fre- 
quently corrected  the  defects  in  the  drawing  of  the 

256 


pictures  he  engraved,  for  which  he  sometimes  re- 
ceived the  thanks,  but  more  usually  the  reproaches, 
of  the  painter.  On  his  return  to  Bologna,  in  1589, 
stimulated  by  the  reputation  Annibale  had  already 
acquired,  he  devoted  himself  to  painting  with  inde- 
fatigable assiduity,  and,  assisted  by  the  instruction 
of  Lodovico,  his  advancement  was  such  that  he 
was  engaged  in  all  the  considerable  works  in  which 
thej'  were  then  employed  in  the  Magnani  and 
Zampieri  palaces.  He  instructed  the  scholars  in  the 
Academy  in  the  theoretical  branches  of  painting, 
and  also  wrote  for  their  edification  a  sonnet, 
wherein  he  tells  them  what  characteristic  quality 
to  choose  from  each  of  the  great  masters.  It  was 
at  this  time  that  he  painted  for  the  Certosa  at 
Bologna  his  famous  picture  of  the  '  Communion 
of  St.  Jerome,'  now  in  the  gallery  of  that  city.  It 
is  one  of  the  very  few  paintings  which  bear  his 
signature.  Annibale  being  soon  after  engaged  to 
visit  Rome,  to  paint  the  Farnese  Gallery,  he  was 
accompanied  by  Agostino,  whose  resources  and 
poetical  genius  were  of  the  most  essential  service 
in  the  composition  of  those  fabulous  subjects  to 
which  the  unlettered  mind  of  Annibale  would  have 
been  inadequate. 

These  aids  were  not  sufficiently  appreciated  by 
Annibale,  whose  vivacious  and  turbulent  disposition 
produced  continual  dissensions,  and  Agostino,  after 
he  had  executed  the  '  Triumph  of  Galatea,'  and 
the  '  Cephalus  and  Aurora,'  was  obliged  to  abandon 
him,  and  to  leave  Rome.  He  went  to  Parma,  where 
he  was  employed  by  Duke  Ranuccio  to  paint  the 
great  saloon  of  the  Casino,  the  finishing  of  which 
he  did  not  long  survive.  He  died  at  Parma,  in 
1602.  The  following  are  the  principal  works  of 
Agostino  Carracci: 

Bologna.        Pinacoteca.  The    Last    Commuiiion    of    St. 
Jerome  {his  master-piece). 

„  „  The  Assumption. 

Cassel.  Galleri/.      Hagar  and  Ishmael. 

London.         Kat.  Gal.  Cephalus  and  Aurora. 

„  „  Triumph  of  Galatea. 

Both    original    cartoons  for  the 

frescoes  in  the  Fartiete  Palace, 

Rome. 

Munich.      Pinakothek.  St.  Francis  receiving  the  Stigmata. 

Vienna.  (Jutlery.      St .  Francis  receiving  the  Stigmata. 

„  ,,  St.  Dominic. 

„  ,,  Female     Portrait.       Signed     and 

dated.     1593. 

As  an  engraver,  Agostino  Carracci  is  to  be  ranked 
among  the  most  celebrated  artists  of  Italy.  The 
correctness  of  his  design  is  only  equalled  by  the 
beauty  of  his  execution,  and  his  plates  would 
have  nearly  reached  perfection,  if  he  had  paid 
more  attention  to  the  efEect  of  chiaroscuro.  They 
appear  to  have  been  executed  entirely  with  the 
graver,  in  a  bold,  free  style,  nearly  resembling 
that  of  his  instructor,  Comelis  Cort.  The  expres- 
sion of  his  heads  is  admirable,  and  his  extremities 
are  marked  with  the  greatest  care.  His  plates  are 
very  numerous  ;  they  are  generally  marked  with  the 
initials  A.  G.  or  AUG.  F.  or  Agos.  G.,  and  some- 
times with  his  name  abbreviated.  They  are  not 
difficult  of  recognition.  The  following  are  his 
principal  prints : 

POETEAITS  AND   SDEJECTS  FEOM  HIS  OWN  DESiaNS. 

Antonio  Carracci,  his  father ;  very  scarce. 

Bust  of  Cosmo  I.  with  ornamental  figures. 

The  Head  of  a  'Woman ;  fine. 

Portrait  of  a  Lady  with  a  collar  of  pearls. 

Giovanni  Tommaso  Costanzo. 

Princess  Christina  of  Lorraine. 


ANNIBALE  CARRACCI 


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Brogi photo\  [L'ffizi  GalUry,  Florence 

THE  ARTIST,  BY  HIMSELF 


ANNIBALE  CARACCI 


[  I'alicau,  Rome 
CHRIST  IN  GLORY  IN  THE  CLOUDS 


PAINTERS  AND  ENGRAVERS. 


Ulisse  Aldrovandj. 

Tiziano  Vecelli.     1587. 

Eve  giving  the  Apple  to  Adam.    1581. 

The  Virgin  and  Infant  Jesus. 

The  Repose  in  Egypt. 

The  Virgin  in  the  Clouds,  giving  the  Scapulary  to  a 

Saint. 
The  Virgin  seated  on  a  step,  with  St.  Joseph,  the  Infant 

Jesus,  St.  John,  and  an  Angel ;  scarce. 
The  Good  Samaritan  ;  proofs  before  the  letter  are  very 

rare.    The  impressions  with  the  name  of  Bertelli  are 

retouched. 
The  Crucifixion,  with  two  Females,  one  representing 

Christianity,  the  other  Judaism, 
The  Resurrection. 
The  Confraternity  of  the  Sacred  Name  of  God.     (The 

Pope  and  the  Senate  of  Venice  kneeling  before  the 

Virgin.)     1582. 
St.  Francis  of  Assisi  receiving  the  Stigmata ;  Affos.  Car. 

1586. 
The  Cord  of  St.  Francis.    (St.  Francis  distributing  cords 

to  a  number  of  persons  of  different  orders  )     1586. 
St.  Jerome  kneeling  at  the  eutrance  of  a  cave.     There 

are  impressions  of  this  plate,  which  are  very  scarce, 

in  which  it  is  only  three  parts  finished,  the  rest  being 

slightly  sketched  with  a  single  stroke.      The  plate 

was  afterwards  finished  by  his  pupil  Villamena. 
Seventeen  plates  of  free  subjects,  called  in  Italy '  Le  Las- 

civie  del  Carracci.' 
Two  other  amorous  subjects. 
A  Landscape  with  naked  figures. 
A  Landscape  with  the  same,  and  in  the   distance  a 

Dance. 
Cupid  conquering  Pan  ;  Omnia  vincit  amor.     1599. 
Perseus  combating  the  Monster. 
Frontispiece  for  the  work  called  Cremona  Jidelissima 

This  book,  which  is  very  scarce,  containfl  thirty-five 

portraits,  engraved  by  Aaostino  Carracci. 

SUBJECTS   AFTER    VARIOUS   MASTERS. 

A  Child  blowing  Bubbles  ;  after  Goltzius  ;  very  scarce. 
Jacob  watering  the  Flocks  of  Rachel ;  after  1).  Calvaert. 

1581. 
Judith  ;  half-length ;  after  Lorenzo  Sabbatini. 
The  young  Tobit  conducted  by  the  Angel ;  improperly 

marked  Raffaelle  d'Urbino;  it  is  after  Maffaette  da 

Reqgio. 
The  Presentation  in  the  Temple  ;  after  Orazio  Sammac- 

chini. 
The  Virgin  and  Infant  Christ  giving  the  Keys  to  St. 

Peter ;  after  the  same. 
The  Adoration  of  the  Magi ;  after  B.  Peruzzi.     1579. 
The  Virgin  and  Infant,  with  the  Magdalen,  St.  Jerome, 

and  an  Angel ;  after  Correggio.     1586. 
The  Ecce  Homo,  with  the  Virgin  and  other  figures ; 

after  the  same.     1587. 
The  Adoration  of  the  Magi ;  after  Marco  del  Mora. 
The  great  Crucifixion  ;  after  Tintoretto ;  in  three  sheets. 
The  mocking  of  Christ ;  after  V.  Strada. 
The  dead  Christ,  supported  by  an  Angel ;  half-length  ; 

after  the  same. 
The  Pieta ;  after  the  sculpture  of  3Iichelangelo  Buon- 
arroti. 
The  Nativity  of  the  Virgin  ;  after  Andrea  del  Sarto. 
The   Virgin  Mary  crowned  by  the   Trinity;  after  A. 

Mostaert. 
The  Holy  Family ;  after  Barocci. 
The  Holy  Family,  with  St.  John  ;  after  Eaphael. 
The  Holy  Family,  with  St.  Michael ;  after  L.  Sabbatini. 
The  Virgin  with  the  Crescent,  and  the  Infant  Jesus 

giving  the  Benediction  ;  after  the  same. 
The  Holy  Family,  with  St.  Anthony  and  St.  Catharine; 

after  Paolo  Veronese. 
The  Virgin  taking  under  her  protection  two  Monks ; 

after  the  same. 
The  Marriage  of  St.  Catharine  ;  after  the  same. 
The  Martyrdom  of  St.  Justina ;  after  the  same ;  in  two 

sheets. 
The  Trinity ;  after  Titian. 
The  Virgin  and  Infant  Jesus,  with  several  Saints ;  after 

Giulio  Campi. 
St.  Paul  resuscitating  Eutychus ;  after  Antonio  Campi. 
The  Holy  Family  reposing  in  a  Landscape ;  after  B. 

Passeri. 


St.  Sebastian ;  after  Francesco  Raibolini. 

The  Virgin  suckling  the  Infant  Jesus ;  after  J.  Zigozzi, 

St.  Jerome  ;  half-length;  after  Vanni. 

St.  Jerome,  with  the  Lion,  regarding  the  Virgin  in  the 

GXouis;  after  Tintoretto.     1598. 
The  Temptation  of  St.  Anthony.    1582.    As  this  print 

is  without  a  name,  it  has  been  sometimes  attributed 

to  Cornells  Cort. 
Mercury  and  the  Graces ;  after  Tintoretto. 
Wisdom,  accompanied  by  Peace,  driving  away  the  God 

of  War  ;  after  the  same. 
jEneas  carrying  his  Father  Anchises ;  after  Barocci. 

CARRACCI,  Annibale,  was  born  at  Bologna  in 
1560.  Hi.s  father,  who  was  a  tailor,  at  first  brought 
him  up  to  his  own  trade,  but  the  boy's  natural  abili- 
ties and  the  advice  of  Lodovico  induced  Antonio 
Carracci  to  let  his  son  study  in  the  atelier  of  his 
uncle.  Thus  Lodovico  was  Annibale's  first  and  only 
instructor  in  art.  In  1580,  Annibale  left  Bologna 
and  went  to  Parma,  where  he  studied  the  works  of 
Correggio  and  Parmigiano.  He  was  joined  at  Parma 
by  his  brother  Agostino,  who  after  a  short  time 
left  Annibale  to  go  to  Venice,  where  they  again  met 
and  lived  together  for  some  time.  After  an  ab- 
sence of  about  seven  years  he  returned  to  Bologna, 
where  in  1589  the  Carracci  opened  their  academy. 
He  assisted  Lodovico  in  his  paintings  in  the 
Magnani,  Fari,  and  Zampieri  palaces.  About  1600, 
Annibale  was  invited  to  Rome  by  Cardinal  Odoardo 
Farnese  to  decorate  the  Farnese  Palace.  He  was 
assisted  by  his  brother  Agostino,  by  Domeniohino, 
and  by  Lanfranco.  The  Farnese  Palace  occupied 
about  four  years  of  the  prime  of  Annibale's  life. 
Foi  this  immense  work  (in  whirh  Ponssin  declares 
that  he  surpassed  not  only  himself,  but  every 
painter  who  preceded  him,  and  which  is  generally 
admitted  to  be  his  most  important  work)  he  received 
but  five  hundred  crowns.  These  frescoes  display 
the  greatest  technical  excellence  in  drawing,  both 
of  drapery  and  the  nude,  in  modelling  and  in 
colour.  But  it  is  to  be  regretted  that  Annibale, 
who  was  averse  to  literary  studies,  and  consequently 
ignorant  of  history  and  fable,  was  obliged  to  have 
recourse  to  the  acquirements  of  others,  and  the 
natural  result  was  that  he  could  not  feel  the  poetry 
of  his  subject  so  sensibly,  or  correctly,  as  if  it  had 
emanated  from  his  own  mind.  Annibale  was  in 
complete  possession  of  his  art,  when  the  subject 
did  not  go  beyond  the  limit  of  his  comprehension. 

After  a  visit  to  Naples,  Annibale  Carracci  died 
at  Rome  in  1609,  and  was  buried  near  Raphael  in 
the  Pantheon. 

The  most  celebrated  easel  picture  by  Annibale 
was  formerly  in  the  Orleans  Gallery,  at  the  sale 
of  which  it  fetched  4000  guineas,  the  highest  price 
reached  by  any  picture  in  that  famous  collec- 
tion. It  is  now  at  Castle  Howard.  It  represents 
the  Saviour  taken  down  from  the  Cross,  extended 
in  the  lap  of  the  Virgin,  who  is  fainting,  Mary 
Magdalene  deploring  the  death  of  her  Divine 
Master,  whilst  Mary  (the  wife  of  Cleophas),  and 
another  of  the  holy  women,  are  succouring  the 
mother  of  Christ.  Of  the  beauties  of  this  ad- 
mirable production,  any  description  that  could  here 
be  attempted  would  be  quite  inadequate ;  it  must 
be  seen  to  be  felt.  The  awful  manner  in  which 
this  solemn  subject  is  represented,  fills  the  mind  of 
the  beholder  with  the  most  affecting  emotions.  It 
has  been  very  finely  engraved  by  KouUet. 

Annibale's  excellence  as  a  painter  of  landscape 
ought  not  to  be  left  unnoticed  ;  he  did  not  confine 
himself  to  the  backgrounds  of  his  historical  sub- 
jects, but  painted  several  pictures  in  which  the 

257 


A  BIOGRAPHICAL  DICTIONARY  OF 


figures  are  only  accessory,  and  to  which  we  have 
nothing  superior  in  grandeur  of  scenery,  in  the 
choice  of  forms,  in  aerial  tints,  and  m  spirited 
execution.  He  also  painted  genre  pictures,  as 
'The  Greedy  Eater,'  in  the  Colonna  Palace  at 
Rome.     The  following  are  his  principal  paintings  : 

BerUn.  Gallery.     Holy  Family. 

,j  Landscape. 

And  many  others, 
Bologna.   Pinacoteca.    Madonna  adored  by  six  Saints. 
°  1593. 

Madonna  enthroned,  with  Saints. 

AuuuuL'iation. 

Assumption.     1592. 
Cas's'el.  Gallery.    Tobias. 

„  Hercules. 

Castle  Howard.  The  Three  Maries. 

Portrait  of  Himself. 
Darmstadt.     Gallery.     Portrait  of  Domenichino. 
Dresden.         GMery.     The  Genius  of  Glory. 

Assumption  of  the  Virgin  {dated 

MDLXXXVIl), 

Madunna  euthroned  with  Saints 

"  "  (siyned    HANNIBiO.    careactits 

BON  F  MDLXXXVIIl). 

„  S.  Koch  distributing  Alms. 

"  __  Virgin  and  Child  with  the  Swal- 

low. 
And  others. 
Florence.  l'ffi:i.     A  Bacchante. 

„        Portrait  of  Himself. 
",  Pitti  Pal.     Christ  adored  by  Saints. 

London.       Xut.  Gal.    Christ  appearing  to  Simon  Peter 
after  his  Resurrection. 
St.  John  in  the  Wilderness. 
"  ",  Landscape,  with  figures. 

"  „  Landscape,  with  figures. 

"  ,,  Erminia  taking  refuge  with  the 

Shepherds. 
„  Silenus  gathering  Grapes. 

"  _j  Pan  teaching  ApoUo  to  play  on 

the  Pipes. 
„  The  Temptation  of  St.  Anthony 

in  the  Desert. 
„  Bridgewater  Gal.  St.  George  in  Prayer. 
Milan.  ^rer"- Christand  theWomanof  Samana. 

Modena.  Museum.  Venus. 

Munich.       Pinakothek.  Susannah  and  the  Elders. 

„  A  Pieta. 

Naples.  Museum.    A  Pieta. 

„  Satyr  and  Bacchante. 

I,'  „  Holy  Family. 

And  others. 
Paris.  Louvre.     Birth  of  the  Virgin. 

,,  '  La  Vierge  aux  Cerises. 

"  __  Xhe  Sleep  of  the  Infant  Christ. 

"  "  ('  Le  Silence  du  Carrache.') 

The  Virgin  appearing  to  St.  Luke 
"  "  and  St.  Catharine  {siy7ied  anni- 

BAL  CAEACTIVS  F.  MDXCll). 

,  Preachiug  of  St.  John  the  Baptist. 

"  .'■  A  Pieta. 

„  Christ  at  the  Tomb. 

„  The  Resurrection  (sijiifdANNiBAL 

CaKRATIVS  PlNGEBAT  MDXClIl). 

„  The  Magdalen. 

,,  „  Martyrdom  of  St.  Stephen. 

And  many  others. 
Petersburg.  Hermitage.  Anointiug  the  dead  Christ. 
„  ,,  Holy  Family. 

Pieta. 
„  The  Women  at  the  Sepulchre. 

"  '„  Christ  and  the  Three  Maries. 

,j  „  His  own  Portrait. 

„  ,,  A  Sleeping  Maiden. 

^,  ,,  Landscape. 

Kome.       Borghese  Pal.  Deposition  of  the  Cross. 
,,  „  St.  Francis. 

„  Colonna  Pal.  The  Greedy  Eater. 

Famese  Pal.  CeiUug— Triumph  of  Bacchus  and 
Ariadne.     1600—1604. 

Madonna  del  )  Assumption. 
Pojiolo.       J 

258 


Vienna.     Gallery,      The  Descent  from  the  Cross. 

„  „  Christ     and      the      Woman      of 

Samaria. 
„  „  Entombment. 

„  „  St.  Francis  in  Ecstasy. 

By  the  hand  of  Annibale  Carracci  we  have  about 
twenty  plates,  partly  etched,  and  finished  with  the 
graver,  in  which  the  great  master  is  strongly 
marked.     They  are  : 

The  Virgin  suckling  the  Infant  Jesus ;  oval. 

The  Virgin  supporting  the  head  of  the  Infant  Jesus 

sleepiug. 
The  Virgm  and  Child,  with  St.  John  presenting  a  Bird. 
The  Adoration  of  the  Shepherds. 
The  Virgin  of  the  Porringer,  giving  drink  to  St.  John. 

1606. 
The  Holy  Family;  Anni.  Car.  in.  fe.     1590. 
The  Crucifixion  ;  Anj.JnFe.     1581. 
The  Dead  Christ  in  the  lap  of  the  Virgin,  called  the 

Caprarola  Christ.     1597. 
Christ  crowned  with  Thorns ;  Annib.  Carracius  in.  et 

fecit.     16U6. 
St.  Jerome  with  spectacles ;  halt-length. 
St.  Francis  with  a  Crucifix  and  a  Skull. 
ApoUo  playing  on  the  Lyre,  with  Pan. 
Jupiter  and  Antiope;  A.  C.     1592. 
Silenus,  a  Faun,  and  a  Satyr,  called  the  Salver  of 

Annibale. 
Acis  and  Galatea,  with  a  Satyr. 
Susanna  and  the  Elders  ;  very  scarce. 
The  Triumph  of  Bacchus  (doubtful). 

CARRACCI,  Antonio  Marziale,  a  natural  son 
of  Agostino  Carracci,  was  born  at  Venice  in 
1583.  He  was  educated  by  his  father  and  by 
his  uncle,  Annibale  Carracci,  whom  he  accom- 
panied to  Rome  when  he  went  to  paint  the  Far- 
nese  Gallery.  Aided  by  Annibale's  instructions, 
and  endowed  with  much  natural  genius,  he  soon 
became  a  skilful  designer,  and  was  taken  into  the 
service  of  Cardinal  Tonti,  who  employed  him  in 
the  decorations  of  his  chapel  in  the  church  of  San 
Bartolommeo  nell'  Isola,  where  he  painted  several 
frescoes  taken  from  the  'Life  of  the  Virgin,'  and  the 
'Passion  of  Christ.'  The  chapel  of  St.  Charles 
Borromeo  was  ornamented  by  him  with  a  picture 
representing  that  saint  communicating  the  plague- 
stricken.  He  also  painted  a  fneze  in  one  of  the 
rooms  of  the  Pope's  palace  at  Monte  Cavallo.  His 
works  are  rarely  met  with.  The  Marquis  of  Lans- 
downe  possesses  a  '  Virgin  and  Child '  by  him.  In 
the  Louvre  is  a  picture  of  'The  Flood';  in  the 
Modena  Gallery,  '  Christ  healing  a  Blind  Man ' ; 
and  in  the  Belvedere,  Vienna,  a  '  Lute-Player.' 
He  was  greatly  attached  to  Annibale,  attended  on 
him  in  his  last  moments,  and  gave  liim  a  splendid 
funeral  in  the  church  of  the  Rotunda,  near  the 
tomb  of  Raphael.  Antonio  died  at  Rome  in 
1618. 

CARRACCI,  Francesco,  called  Fbanceschino, 
the  son  of  Giovanni  Antonio,  and  a  nephew 
of  Agostino  and  Annibale  Carracci,  was  born 
at  Bologna  in  1595.  He  was  brought  up  by 
Lodovico,  and  soon  displayed  great  talent  for  art. 
He  painted  a  '  Virgin  adored  by  Saints  '  for  Santa 
Maria  Maggiore,  Bologna,  and  a  scene  from  the  life 
of  St.  Koch  in  the  Oratory  of  San  Kocco.  He  sub- 
sequently set  up  an  opposition  school  to  that  of 
Lodovico,  and  called  it  the  "True  School  of  the 
Carracci  "  ;  but  not  meeting  with  the  patronage  he 
exj  ected,  he  left  Bologna,  and  went  to  Rome, 
whither  he  transplanted  the  "  True  School  of  the 
Carracci."  He  died,  however,  in  poverty,  at  Rome 
in  1622.  There  are  a  few  plates  engraved  by  this 
artist  from  the  designs  of  Lodovico  and  Annibale, 
which  are  marked  F.  C,  or  F.  C.  S. 


LODOVICO  CARACCI 


Alinari  photo]  [Bologna  Gallery 

THE  MADONNA  AND  CHILD,  ANGELS  AND  SAINTS 


PAINTERS  AND  ENGEAVBES. 


Tlie  Virgiu  and  Child,  inscribed  Deiparte  imago  a  divo 

Luca  pict.^  ^'C. 
St.  Charles  Borromeo,  kneeling. 
A  winged  Angel  pointing  to  a  Skull. 
Four  Busts    of    Semiramis,   Lucretia,  Artemisia,   and 

Portia. 

CAREACCI,  LoDOVico,  the  real  founder  of  the 
Eclectic  school,  wag  born  at  Bologna  in  1555.  The 
two  masters  whom  he  had  chosen,  Fontana  of 
Bologna  and  Tintoretto  of  Venice,  counselled  him 
to  abandon  the  career  of  an  artist,  considering  him 
incapable  of  ever  succeeding  in  it ;  and  his  fellow- 
students  called  him  "  the  ox,"  on  account  of  the 
slowness  and  heaviness  of  his  mind,  and  also  be- 
cause of  his  continual,  determined,  and  indefatig- 
able application.  He  painted  afterwards  under 
Passignano,  and  also  studied  the  works  of  Andrea 
del  Sarto,  at  Florence  ;  at  Parma  he  was  impressed 
by  the  pictures  of  Correggio  and  Parmigiano,  and 
at  Venice  by  those  of  Titian.  On  his  return  to 
Bologna,  Lodovico  Carracci  opened  in  1589,  in  con- 
junction with  his  two  nephews,  Agostino  and  Anni- 
bale  Carracci,  an  Academy  "  degli  Desiderosi " 
("Those  who  regret  tlie  past,  despise  the  present, 
and  aspire  to  a  better  futu:e"),  which  was  kept  by 
the  three  together  until  1600  (when  the  two  brothers 
went  to  Rome),  from  which  time  till  1619,  the  year 
of  his  death,  it  was  maintained  by  Lodovico  alone. 
Soon  after  its  opening,  this  academy  acquired  such 
renown  that  all  establishments  of  a  like  nature 
in  Bologna  were  closed :  and  Lodovico  Carracci's 
fame  rests  rather  on  his  teaching  than  on  the  works 
he  himself  executed.  The  Carracci  reckoned 
amongst  their  pupils,  Albani,  Guido  Reni,  Domeni- 
chino,  Lanfranco,  Spada,  and  Tiarini.  The  fres- 
coes which  Ludovico  executed  with  the  assistance  of 
pupils  in  1602,  in  San  Michele  in  Bosco  in  Bologna, 
representing  the  '  Life  of  St.  Benedict,'  and  the 
'  Life  of  St.  Cecilia,'  have  perished.  The  follow- 
ing are  his  principal  existing  pictures  : 

Berlin.  Gallery.     Miracle  of  the  Loaves  and  Fishes. 

Bologna.  Falazzo  ")  History  of  Romulus  and  Remus 
Magnani  >  {fresco;  painted  in  conjunction 
Ouidotti.J      with  AnnidaU  and  Agostino). 

„  S.  Gregorio.  St.  George  and  the  Dragon. 

I,  „        The  Annunciation. 

„  Finacoteca.  The  Transfiguration. 

„  ,,        Madonna  of  the  Bargellini  Family. 

„  „        Birth  of  St.  John  the  Baptist. 

„  „        And  others. 

Florence.  Xlffizi.         His  own  Portrait. 

Parma.  Museum.    Burial  of  the  Virgin. 

Milan.  Brera.         Christ  with  the  Woman  of  Canaan. 

Modena.  Museum.    Flora. 

„  „           Galatea. 

„  „            The  Assumption. 

Paris.  Zotwre.       The  Annunciation. 

„  „            Virgin  and  Child. 

J,  „            xieija. 

„  „           Appearance  of  the  Virgin  to  St. 
Hyacinthe. 

Some.  Doria  Fal.  Ecce  Homo. 

London.  Nat.  Gal.   Susannah  and  the  Elders. 

By  Lodovico  Carracci  we  have  a  few  engravings 
from  his  own  designs ;  they  are  etched  in  a  free 
and  masterly  style,  and  finished  with  the  graver. 
He  generally  marked  his  plates  with  the  initials 
L.  C.  or  LO.  G.     We  hare  by  him  the  following: 

Samson  overcoming  the  Lion  ;  L.  C.  F. 

The  Virgin  and  Infant  Jesus,  with  four  Angels,  half- 
length. 

The  Virgin  suckling  the  Infant  Jesus,  half-length ;  lod. 
Carr.  in.  f. 

The  Holy  Family,  with  the  Virgin  washing  Linen ; 
L.  C.,f. 

82 


Another  Holy  Family ;  1604. 
Another  Holy  Family  under  an  Arch. 
The  Frontispiece  to  the  Poems  of  Cesare  Rinaldi. 
A  Thesis,  with  the  Arms  of  Bonfigliuoli,  with  Mercury 
and  Hercules. 

CARRACCI,  II  Gobbo  de'.     See  BoNzi. 

CARRACCINO,  II.    See  Mulinaki,  Giov.  Ant. 

CARRACCIOLO.     See  Caracciolo. 

CARRARI,  Baldassare,  was  a  native  of  Ra- 
venna, who  flourished  about  the  year  1512.  Lanzi 
places  him  amongst  the  pupils  of  Niccol6  Ron- 
dinello,  and  considers  that  his  principal  and  most 
celebrated  production  is  his  picture  of  '  St.  Bar- 
tholomew,' in  the  church  of  San  Domenioo  at 
Ravenna.  When  Pope  Julius  II.  visited  that  city 
in  1511,  he  declared  tliat  the  altars  of  Rome  did 
not  possess  a  finer  painting  than  that  work.  A  '  Ma- 
donna and  Child  with  Saints '  by  him,  in  the  Brera, 
Milan,  originally  hung  in  San  Domenioo,  Ravenna. 

CARR^  FAMILY. 

FranciscuB  (1C30  (7)— 1669). 


Hendrik  (1658—1721),      Michiel  (1666—1728). 


Abraham  (1684—1768-69).    Hendrik  (1696—1776).    Johannes  (1698—1772). 

CARRE,  Abraham,  was  the  son  of  Hendrik 
Carr6,  and  was  born  at  the  Hague  in  1694,  ana 
died  there  in  1758  or  1759.  He  painted  small  por- 
traits and  cabinet  pictures,  and  was  an  excellent 
copyist  of  the  works  of  the  more  distinguished 
Dutch  masters,  in  which  occupation  he  was  much 
employed  by  the  dealers,  who  sold  his  copies  as 
originals.  Two  of  his  brothers,  Hendrik  Carr6, 
who  was  born  at  the  Hague  in  1696  and  died  there 
in  1775,  and  Johannes,  who  was  born  at  the  Hague 
in  1698  and  died  there  in  1772,  were  also  painters, 
though  but  little  is  known  of  them. 

CARRE,  Fkanciscds,  was  a  painter  born  in  Fries- 
land  about  1630.  It  is  not  known  who  was  his  in- 
structor, but  he  grew  to  be  sufficiently  esteemed  to 
be  appointed  first  painter  to  the  Stadtholder  William 
Frederick.  He  excelled  in  painting  landscapes 
and  village  festivals,  but  his  works  are  little  known 
out  of  his  own  country.  He  left  an  etching  of  the 
funeral  catafalque  of  the  Stadtholder.  He  died  at 
Amsterdam  in  1669. 

CARRE,  Hendrik,  was  the  elder  son  of  Fran- 
ciscus  Carr6,  and  was  bom  at  Amsterdam  in 
1658.  After  studying  the  art  under  Juriaen  Jacobsz 
and  Jacob  Jordaens  for  some  time,  the  Princess  of 
Orange  gave  him  a  commission  in  her  regiment,  and 
he  served  some  years  in  the  army,  being  present  at 
the  siege  of  Groningen  in  1672.  He  afterwards 
resumed  painting  at  Amsterdam  with  much  success. 
Examples  of  his  work,  which  is  in  the  style  of 
Berchem,  can  be  seen  in  the  Chateau  of  Ryswick 
and  in  the  Gallery  at  Brunswick.     He  died  in  1721. 

CARRE,  Michiel,  was  born  at  Amsterdam  in  1666. 
He  received  his  first  instructions  from  his  elder 
brother  Hendrik  Carr6,  and  afterwards  became  the 
scholar  of  Nicolaas  Berchem,  but  unfortunately  did 
not  profit  by  the  example  and  practice  of  so  excel- 
lent a  master,  but  preferred  to  follow  the  style  of  a 
much  inferior  artist  named  Gabriel  van  der  Leeuw. 
Houbraken  states  that  Michiel  Carr6  resided  some 
time  in  England,  and  that  his  works  were  not  popu- 
lar here,  but  Horace  Walpole  makes  no  mention 
of  him  in  his  '  Anecdotes.'  He  was  a  landscape 
painter  of  some  celebrity,  since  at  the  death  of 
Abraham  Begeyn  he  was  invited  to  Berlin  by  the 
King  of   Prussia,  who  appointed   him  one  of  his 

259 


A  BIOGRAPHICAL  DICTIONARY  OF 


painters.  On  the  death  of  Frederick  he  returned 
to  Holland,  and  resided  chiefly  at  Alkmaar,  where 
he  died  in  1728.  His  greatest  merit  was  the  un- 
common facility  and  boldness  of  his  pencil,  which 
was  well  suited  to  the  works  upon  which  he  was 
principally  engaged,  the  decoration  of  halls  and 
large  apartments.  One  of  his  best  productions  is 
to  be  seen  in  a  saloon  at  the  Hague,  where  he  has 
represented  in  a  large  landscape  the  '  History  of 
Jacob  and  Esau.'  Some  of  his  easel  paintings, 
landscapes  with  cattle,  are  very  good.  Examples 
of  these  can  be  found  in  the  Brunswick  Gallery,  and 
the  Rotterdam  Museum. 

CARREiJO  DE  MIRANDA,  Juan,  an  eminent 
Spanish  painter,  was  bom  at  Aviles,  in  the  Asturias, 
in  1614.  He  learned  painting  at  Madrid  under 
Pedro  de  Las  Ciievas  and  Bartolom^  Roman,  and 
improved  himself  in  design  and  colouring  by  study- 
ing the  works  of  Velazquez  and  Van  Dyck.  His 
talents  recommended  him  to  the  patronage  of 
Philip  IV.,  who  employed  him  in  some  important 
fresco  works  in  his  palaces.  Besides  his  commis- 
sions from  the  king,  he  painted  a  number  of  pictures 
for  the  churches,  and  Palomino  gives  a  long  account 
of  his  works  at  Madrid,  Toledo,  Alcala  de  Henares, 
Segovia,  and  Pamplona.  At  Madrid,  in  conjunction 
with  Francisco  Riei,  he  painted  the  celebrated 
cupola  of  San  Antonio  de  los  Portugueses,  and  a 
fine  picture  of  the  '  Magdalen  in  the  Desert,'  in  the 
convent  of  Las  Recogidas.  His  colouring  was  in 
tenderness  and  suavity  perhaps  superior  to  that 
of  any  painter  of  bis  country  except  Murillo.  He 
was  retained  as  painter  to  the  court  under  Charles 
II.,  and  died  at  Madrid  in  1685.  He  also  executed 
several  etchings. 

The  following  are  some  of  his  best  paintings  : 


Berlin.         Gallery. 

Paris.  Louvre. 

Vienna.    Academy. 


Portrait  of  Charles  II.  of  Spain. 

1673. 
St.  Ambrose  giving  Alms. 
A  Priest  with  the    Consecrated 

Host. 


CARRETTI,  DoMENico,  was,  according  to  Aver- 
oldi,  a  native  of  Bologna.  It  is  not  stated  by  whom 
he  was  instructed,  but  during  a  long  residence  at 
Brescia,  he  painted  many  small  historical  pictures 
for  private  collections.  He  was  also  emploj'ed  for 
the  churches.  His  most  esteemed  work  is  a  picture 
of  the  '  Virgin  witli  the  Infant  Jesus  and  St 
Theresa,'  in  the  church  of  San  Pietro  in  Oliveto. 

CARREY,  Jacques,  a  French  painter,  was  bom 
at  Troyes  in  1649,  and  became  a  pupil  of  Le 
Brun.  In  1673  he  accompanied  the  Marquis  de 
Nointel  in  his  embassy  to  Constantinople,  taking 
sketches  of  the  most  remarkable  scenes  and  objects, 
from  which  he  afterwards  painted  pictures.  In 
1674  he  visited  Greece  and  made  for  the  Marquis 
de  Nointel  the  priceless  drawings  of  the  Parthenon, 
now  in  the  Bibliotheque  Nationale  at  Paris,  which 
have  been  so  highly  praised  by  M.  Beul^.  They 
were  reproduced  and  published  in  1848  by  the 
Marquis  L^on  de  Laborde,  under  the  title  '  Le  Par- 
thenon, documents  pour  servir  a  une  restauration.' 
The  Louvre  possesses  a  series  of  drawings  by  him 
representing  the  '  Supplice  du  Pal,'  and  in  the 
Bordeaux  Museum  are  two  pictures  of  Turkish 
ceremonies.     Carrey  died  at  Troyes  in  1726. 

CARRICK,  Thomas,  a  native  of  Carhsle,  removed 
to  London  and  soon  became  popular  for  his  mini- 
atures. Many  eminent  personages  sat  to  him,  and 
he  exhibited  at  the  Royal  Academy  occasionally 
from  1841  till  1860.     He  died  in  1874. 

260 


CARRIER,  AuGusTE  Joseph,  a  French  painter, 
was  bom  in  Paris  in  1800.  He  was  a  pupil  of 
Gros,  Prud'hon,  and  Saint,  and  evinced  much  talentj 
in  the  painting  of  miniatures,  but  in  his  later  years 
he  devoted  himself  almost  entirely  to  landscapes. 
He  died  in  1875. 

CARRIERA,  RosALBA,  better  known  by  her 
Christian  name  alone,  was  a  daughter  of  Angelo 
Carriera,  a  native  of  Chioggia,  who  held  various 
official  posts  in  the  latter  days  of  the  Venetian 
Republic.  She  was  bom  at  Venice  on  the  7th 
of  October,  1675,  and  at  an  early  age  showed  her 
artistic  talent  by  making  designs  for  point-lace. 
This  she  continued  to  do  until  the  fashion  changed, 
when  she  was  advised  by  Jean  Steve,  a  Frenchman 
then  residing  at  Venice,  to  turn  her  attention  to  the 
decoration  of  snuff-boxes,  a  branch  of  art  in  which 
he  excelled.  She  then  became  a  pupU  of  Giannan- 
tonio  Lazzari,  a  distinguished  amateur,  and  after- 
wards of  Giuseppe  Diamantini  and  Antonio  Pales- 
tra, but  her  style  was  mainly  inspired  by  the  works 
of  Pietro  Liberi.  She  at  first  painted  in  oil,  but  it 
IS  to  her  miniatures,  and  above  all  to  her  crayon, 
portraits,  that  her  great  reputation  is  due.  Electe(' 
in  1705  a  member  of  the  Academy  of  St.  Luke  at! 
Rome,  and  in  1720  a  member  of  the  Academy  of 
Bologna,  the  Grand-Duke  Cosmo  III.  requested  her 
to  contribute  her  own  likeness  to  the  famous  col- 
lection of  painters'  portraits  executed  by  their  own 
hands  in  the  Uffizi  Gallery  at  Florence.  The 
Florentine  Academy  likewise  enrolled  her  among 
its  members.  In  1720  she  visited  Paris  in  company 
with  her  mother,  her  sisters  Angela  and  Giovanna, 
and  the  Venetian  painter,  Antonio  Pellegrini,  whom 
the  elder  of  her  sisters  had  married.  Rosalba 
stayed  in  Paris  nearly  a  J'ear,  during  which  time 
she  executed  the  portraits  of  Louis  XV.,  then  a 
boy  of  ten  years  old.  the  Regent,  and  many  nobles 
and  ladies  of  the  French  court.  Crozat,  Mariette, 
the  Comte  de  Caylus,  Watteau,  Rigaud,  LargilUere, 
Coypel,  and  other  distinguished  amateurs  and 
artists  eagerly  sought  her  society  and  her  works, 
and  the  Royal  Academy  of  Painting  elected  her 
by  acclamation.  Her  diary,  kept  during  her  stay 
in  Paris,  contains  details  of  much  interest  respect- 
ing the  brilliant  society  of  the  Regency.  It  was 
pubHshed  by  the  Abbe  Vianelli  in  1793,  and  was 
both  reprinted  in  Italian  and  translated  into  FrencH 
in  1865.  Rosalba  was  then  forty-five  years  of  age, 
and  had  never  been  pretty,  j'et  she  charmed  every 
one  by  the  grace  and  modestj'  which  set  oflE  her 
rare  talent.  Returning  to  Venice  in  1721,  her 
pencil  found  constant  employment,  for  scarcely  a 
traveller  of  distinction  passed  through  that  city 
without  carrying  awaj'  with  him  his  own  portrait 
or  some  fancy  head.  In  1723  she  visited  the  court 
of  Modena,  and  in  1730  that  of  Vienna,  and  the 
Elector  of  Saxony,  afterwards  Augustus  III.,  King 
of  Poland,  purchased  many  of  her  works.  Tea 
years  before  her  death  her  sight  failed,  and  she 
died  at  Venice  on  the  15th  of  April,  1757.  Her 
works  are  still  admired,  although  no  longer  com- 
pared with  those  of  Correggio,  for  the  delicate 
tints  have  now  faded,  and  the  faulty  drawing  and 
affected  style  become  but  too  apparent. 

The  Dresden  Gallery  possesses  143  of  her  works, 
including  portraits,  £md  sacred  and  other  subjects, 
the  chef-d'ceuvre  being  the  head  of  Metastasio. 
The  Louvre  has  five  of  her  drawings,  among  which 
is  the  half-length  crayon  drawing  of  a  '  Muse 
crowned  with  Laurel,'  which  she  presented  on  her 
reception  at  the  Academy.      There  are  drawing*^ 


I 


ROSALBA  CARRTERA 

CALLED 

ROSALBA 


yLouvre,  Paris 


A    LADV 
I'ASTEL 


PAINTERS  AND  ENGRAVBES. 


by  her  at  Venice,  Chioggia,  and  Padua,  and  in 
the  Galleries  of  Turin,  Florence,  Copenhagen,  and 
St.  Petersburg. 

Rosalba's  youngest  sister,  Giovanna  Caeriera, 
painted  miniatures,  assisted  her  sister  in  the  back- 
grounds and  draperies  of  her  drawings,  and  died 
in  1737.  R.  E.  G. 

CARRIERE,  Antoine  Fdlcrand,  a  French  litho- 
graphic artist  and  pupil  of  Ingres,  was  born  at 
St.  Afrique  (Aveyron)  in  1804.  He  executed  a 
series  of  portraits  of  generals  of  the  First  Empire, 
and  died  at  Agen  in  1856. 

CARROGIS,  Louis.     See  Carmontelle. 

CARRUCCI,  Jacopo,  (or  Carucci,)  called  Jacopo 
_da  Pontormo  (or,  more  correctly,  Pdntoemo),  was 
'bom  at  Pontormo,  in  the  Florentine  state,  in  1494. 
His  parents  dying  before  he  was  thirteen  years  of 
age,  he  was  taken  to  Florence  by  a  relation,  who, 
perceiving  his  inclination  for  art,  placed  him  in  the 
school  of  Leonardo  da  Vinci,  under  whose  tuition 
he  remained  only  till  1,512,  but  who,  nevertheless, 
influenced  his  style  of  painting ;  he  afterwards 
became  successively  the  scholar  of  Piero  di  Cosimo 
and  of  Mariotto  Albertinelli.  Whilst  he  was  a  dis- 
ciple of  Albertinelli,  he  painted  a  picture  of  the  'An- 
nunciation,' which  excited  the  greatest  admiration, 
and  being  shown  to  Raphael,  was  considered  by 
that  great  painter  as  an  uncommon  eilort  of  genius 
for  a  juvenile  performance.  When  about  eighteen 
years  of  age  he  became  a  pupil  of  Andrea  del  Sarto  ; 
and  some  of  his  early  productions  having  received 
the  most  marked  commendation  from  Buonarroti, 
the  illiberal  disposition  of  his  instructor  con- 
ceived an  unworthy  jealousy  of  his  powers,  and  he 
is  said  to  have  dismissed  him  from  his  academy. 
This  ungenerous  treatment  only  served  as  a  stimu- 
lus to  his  exertions  ;  and  it  was  not  long  before  he 
met  with  considerable  occupation.  One  of  his 
first  productions,  on  leaving  Andrea  del  Sarto,  was 
a  picture  of  the  '  Visitation  of  the  Virgin  to  St. 
Elizabeth,'  for  the  convent  of  the  Annunziata, 
which  disputed  the  preference  with  many  of  the 
works  of  Del  Sarto.  He  was  not  less  successful  in 
his  '  Holy  Family  with  St.  John,'  painted  lor  the 
church  of  San  Michele,  at  Florence  ;  and  his  pic- 
ture of  '  St.  Augustine  giving  the  Benediction,'  with 
a  beautiful  choir  of  angels,  in  the  church  of  San 
Clemente.  It  is  surprising  that,  with  the  posses- 
sion of  such  powers,  he  should  have  degraded  his 
talents  by  stooping  to  a  servile  imitation  of  the 
style  of  Albrecht  Diirer,  from  whose  prints  the 
compositions  in  the  series  of  pictures  which  he 
painted  for  the  cloister  of  the  Carthusians  at 
i'lorence  are  undisguisedly  copied.  His  fresco 
work  at  Pozzio  a  Caiano  is  perhaps  the  most 
original  and  appropriate  in  Italy,  and  a  proof  of 
his  ability  to  do  really  excellent  work.  His  last 
works  were  the  frescoes  he  painted  in  the  chapel 
of  San  Lorenzo,  representing  the  '  Deluge '  and 
the  'Last  Judgment,'  which,  from  his  indecision 
and  want  of  energy,  occupied  him  eleven  years. 
Great  expectations  had  been  formed  of  this  im- 
portant undertaking ;  but  when  the  results  were 
exposed  to  public  view,  they  were  found  to  be 
totally  unworthy  of  his  reputation  ;  and  it  is  perhaps 
fortunate  for  his  fame  that  they  have  since  been 
obliterated.  He  did  not  long  survive  this  mortify- 
ing failure,  and  died  at  Florence  in  1557.  As  a 
portrait-painter  Carrucci  is  worthy  of  much  praise. 
The  following  are  some  of  his  best  works  : 

Berlin.  Gallery.    Portrait  of  Andrea  del  Sarto. 

Florence.         Uffizi.    Madonna  and  Saints. 


Florence.        Uffizi.       Venus  and  Cupid  (from  a  design 
by  Michelangelo). 
„  „  Adam  and  Eve  driven  from  Para- 

dise. 
„  „  Martyrdom  of  St.  Mam'ice. 

„  „  Birth  of  St.  John. 

„  Portrait  of  Cosmo  I.  de'  Medici. 

Academy.  The  Disciples  at  Emmaus.     1525. 


Madonna  with  Saints. 


„        Annunziata  }  , 

Convent,  j 
„  S.  Felicita,  Descent  from  the  Cross. 

Fitti  Pal.  Martyrdom  of  Forty  Saints. 
,,  „         Portrait  of  Ippolito  de'  Medici. 

London.         ^at.  Gal.  Joseph  in  Egypt. 
Panshanger.  Three  pictures. 

Paris.  Louvre.     Holy  Family. 

,,  ,,         Portrait  of  an  Engraver  of  Gems. 

Pozzio  a  Caiano.  Decorative  Fresco. 

Pontormo.  St,  John  and  St.  Michael, 

Vienna.  Gallery.  Portrait  of  a  Youth. 

Volterra.       Cathedral.  Descent  from  the  Cross. 

CARS,  Jean  Franqois,  was  a  French  engraver, 
born  at  Lyons  in  1670.  His  father,  Francois  Cars, 
was  an  engraver  of  no  great  repute,  to  whom  we  owe 
a  portrait  of  Joseph  Tobias  Franc,  drawn  in  1681. 
Jean  Frangois  worked  at  Lyons  for  some  years, 
but  eventually  repaired  to  Paris,  where  he  died 
in  1739.  He  had  a  brother,  FRANgois  Cars,  like- 
wise an  engraver,  who  died  in  Paris  in  1763,  aged 
eighty-three.  The  works  of  Jean  Frangois  Cars 
are  not  considered  equal  to  those  of  his  more 
famous  son.  His  plates  are  sometimes  marked 
J.  F.  Cars,  but  more  frequently,  J.  F.  Cars,  fils. 
We  have  by  him  the  following  portraits  : 

Nicolas,  Superior  of  the  Order  of  Capuchins  at  Lyons ; 
engraved  at  Lyons,  1694.  Francois  Blouet  de  Camilly. 
Cardinal  de  Polignac ;  after  Rigaud.  Archbishop 
Neufville  de  Villeroi ;  after  Grandon  of  Lyons. 
Bishop  Dominic  ^t.  Clair.  Louis  Auguste,  Prince 
de  Dombes.  Louis,  Vicomte  d'Aubusson.  Prince 
Henri  La  Tour  d'Auvergne.  1699.  Archbishop  Charles 
La  Berchere.  1702.  Cardinal  Archbishop  Le  Camus. 
1703.  Pierre  de  Seve.  1706.  Archbishop  de  Gram- 
mont.  1706.  Louis  XIV. ;  engraved  at  Lyons,  sold 
at  Paris,  marked  J.  F.  C. 

CARS,  Laurent,  was  a  French  designer  and  en- 
graver, born  at  Lyons  in  1699.  He  was  the  son  of 
Jean  Fran5ois  Cars,  who  took  him  when  qUite 
young  to  Paris,  where  it  was  not  long  before  he  dis- 
tinguished himself.  In  1733  he  was  received  as  an 
Academician  upon  his  portraits  of  Michel  An- 
guier  and  S^bastien  Bourdon.  Cars,  who  was  the 
master  of  Beauvarlet,  may  be  considered  as  one  of 
the  best  French  engravers  of  the  18th  century,  in 
the  kind  of  subjects  he  selected.  He  died  in  Paris 
in  1771.  His  best  plates  are  those  engraved  after 
Lemoyne,  particularly  that  of  '  Hercules  and 
Omphale,'  and  the  series  of  illustrations  after 
Boucher's  designs  to  the  Comedies  of  Moliere,  and 
after  Oudry  to  the  Fables  of  La  Fontaine.  His  work 
is  extensive  ;  the  following  are  his  principal  plates  : 

PORTRAITS. 
Louis  XV.,  an  allegorical  portrait;  after  Lemoyne. 
Louis  XV.,  an  allegorical  portrait;  after  Boucher. 
Stanislaus,  King  of  Poland  ;  after  Van  Loo.  Michel 
Anguier,  sculptor ;  after  Revel.  Cardinal  Armand 
Gaston  de  Rohan ;  after  Rigaud.  Marie  Leszczinska, 
Queen  of  France ;  after  Van  Loo.  Francois  Boucher, 
painter ;  Jean  Baptiste  Chardin,  painter ;  Madame 
Chardin;  after  Cochin, fls.  Mile.  Camargo,  dancing  ; 
after  Lancret.     Mile.  Clairon,  in  the  part  of  Medea. 

SUBJECTS  AFTER   VARIOUS   MASTERS. 

The  Adoration   of    the   Shepherds;    The   Flight  into 

Egypt ;    after    Van  Loo.     Bathsheba  at  the  Bath ; 

Susannah  and  the  Elders;   after  De   Troy.     Adam 

and  Eve  in  Paradise ;  Hercules  and  Omphale ;  Per- 

261 


A  BIOGRAPHICAL  DICTIONARY  OF 


sens  and  Andromeda :  The  Sacrifice  of  Iphigenia ; 
Hercules  and  Cacus  ;  Iris  at  the  Bath  ;  Cephalus  and 
Aurora ;  The  Rape  of  Europa ;  Time  discovering 
Truth ;  after  Lemoyne.  Silence  ;  L'Aveugle  trompe  ; 
after  Greuze.  The  Fortune-teller;  The  Venetian 
Festival;  A  Convoy  of  Equipages ;  after  JTatteau. 

CARSTEXS,  Asjius  Jacob,  was  an  historical 
painter  bom  at  Sankt  Jiirgen,  Sehleswig,  in  1754. 
He  displayed  considerable  natural  inclination  for 
drawing  and  painting  at  quite  an  early  age,  and 
this  was  increased  by  the  impression  produced  on 
him  by  the  picture  in  the  cathedral  at  Schleswig, 
painted  by  Juriaen  Ovens,  a  pupil  of  Rembrandt. 
Endeavours  were  made  to  place  him  with  Tischbein 
at  Cassel,  but  these  were  unsuccessful,  and  he  was 
accordingly  apprenticed  to  a  wine-merchant  at 
Eckernforde.  After  spending  five  years  in  that 
capacity,  during  which  his  leisure  hours  were  always 
being  devoted  to  drawing  and  portrait-painting,  he 
went  to  Copenhagen  in  1776,  where  the  artistic  trea- 
sures of  the  Royal  Gallery  made  such  an  impression 
upon  him  that  he  resolved  at  all  cost  to  become  a 
painter.  He  took  at  once  to  studying  the  antique, 
not  indeed  by  copj-ing,  but  by  impressing  the  image 
on  his  mind  by  contemplation,  which  resulted  in 
his  obtaining  an  extraordinary  facility  in  drawing 
the  round  when  treating  the  human  figure.  He 
also  learnt  something  of  anatomy,  but  he  did  not 
go  to  the  Academy,  as  his  mind  alreadj'  evinced 
some  repugnance  to  the  academical  course  of  train- 
ing, and  he  preferred  to  train  himself  by  making 
his  o\vn  attempts  at  composition,  by  books,  by 
engravings,  and  by  the  friendly  assistance  of  other 
artists.  His  first  large  work  was  the  '  Death  of 
.lEschylus,'  soon  followed  by  another  on  a  larger 
scale, 'jEolus  and  Ulysses,' which  was  exhibited, 
and  met  with  a  most  favourable  reception.  Mean- 
time he  entered  the  Academy  with  a  view  to  ob- 
taining the  means  of  visiting  Italy.  But  this, 
nevertheless,  seems  to  have  been  his  object  rather 
for  the  sake  of  appearances,  and  the  obtaining  it  a 
matter  of  the  greatest  indifference  to  him,  as  he 
had  to  retire  from  it  in  consequence  of  having 
declined  to  receive  the  silver  medal  awarded  to 
him,  on  the  ground  of  there  having  been  some 
unfair  act  in  the  way  the  Directorate  had  treated 
another  member.  In  fact,  he  rejected  with  contumely 
proposals  made  to  him  subsequently  to  canvass  for 
the  great  prize,  which  had  a  six  years'  maintenance 
in  Italy  attached  to  it.  He  then  left  Copenhagen 
to  satisfy  his  desire  of  visiting  Rome  at  the  expense 
of  his  scanty  savings.  He  started  in  1783,  but  did 
not  get  beyond  Mantua,  where  the  paintings  of 
Giulio  Romano  in  the  Palazzo  del  Te  produced  a 
profound  impression  upon  him ;  but  he  was  com- 
pelled by  lack  of  funds  to  return  to  Germany. 
He  then  settled  in  Liibeck,  where  he  maintained 
himself  by  painting  portraits.  However,  he  had 
by  this  time  seen  Giulio  Romano's  works,  Leonardo 
da  Vinci's  'Last  Supper,'  and  something  of  Swiss 
scenery,  and  his  imaginative  powers  had  thus  re- 
ceived new  ideas — ideas  which  he  now  began  to 
express  in  allegories  of  his  own,  as  well  as  in  com- 
positions after  Homer,  .^^schylus,  Ossian,  and 
Klopstock. 

After  nearly  five  years  spent  in  Liibeck  he  had 
the  good  fortune  to  make  the  acquaintance  of  a 
wealthy  amateur,  who  placed  him  in  such  a  position 
that  he  was  able  to  visit  Berlin  in  1787.  At  that 
place,  as  he  was  following  out  his  determination  to 
paint  no  more  portraits,  he  was  at  first  in  very 
straitened  circimistances,  until  the  success  of  a 
262 


composition  he  exhibited,  entitled  '  The  Fallen 
Angel,'  a  design  showing  extraordinary  power  of 
imagination,  led  to  his  appointment  as  professor  at 
the  Berlin  Academy.  Amongst  his  works  at  this 
time,  next  to  Plato's  '  Symposium,'  which  is  one  of 
his  finest,  were  the  '  Battle  of  Rossbach,'  and  the 
design  for  an  '  Equestrian  Statue  of  Frederick  the 
Great.'  But  previouslj',  the  decoration  of  an  apart- 
ment with  mythological  subjects  to  the  order  of 
the  Minister  of  the  day.  Heinitz,  had  brought  him 
to  the  height  of  his  wishes.  On  the  occasion  of 
its  being  opened  the  artist  was  presented  to  the 
king,  and  he  shortly  afterwards  received  a  stipend 
enabling  him  to  visit  Rome.  It  was  in  the  summer 
of  1792  that  he  made  the  journey,  halting  for  a 
month  in  Florence,  where  he  produced  a  fine  com- 
position in  his  '  Battle  of  the  Centaurs  and  La- 
pithae,'  and  reached  Rome  in  September.  There  he 
studied  more  especially  the  works  of  Michelangelo 
and  Raphael.  His  first  work  from  his  own  design 
at  Rome  was  the  '  Argonauts  and  Chiron,'  a  work 
in  which  the  purity  of  stjle  and  the  beauty  of  the 
forms  manifested  the  advance  which  he  was  making 
by  sojourning  at  Rome.  In  1795  he  had  a  public 
exhibition  of  his  works,  and  the  judgment  of  con- 
noisseurs, who  were  amazed  at  the  skill  he  dis- 
played, and  at  the  extent  of  the  powers  of  his 
imagination,  was  so  favourable  and  so  flattering 
that  he  considered  he  should  be  able  to  maintain 
himself  for  the  future  at  Rome.  Nor  were  his 
expectations  delusive.  His  pictures  found  pur- 
chasers as  well  as  admirers,  and  a  troop  of  brave 
artists  flocked  round  him.  "That  exhibition,  in  fact, 
marks  the  second  revival  of  modem  art  at  the 
close  of  the  past  century. 

The  following  two  years  witnessed  the  produc- 
tion of  numerous  masterly  compositions  after 
Lucian,  Philostratus,  Homer,  Ossian,  Sophocles, 
Pindar,  Dante,  and  Goethe,  as  well  as  a  series  of 
excellent  designs  from  the  history  of  the  Argo- 
nauts, and  from  that  of  (Edipus,  as  given  by  So- 
phocles. The  last  of  these  represented  '  The 
Golden  Age,'  one  of  the  most  powerful  and  grace- 
ful productions  of  the  artist's  fancy.  About  this 
time  he  was  seized  with  an  attack  in  the  chest, 
which  defied  all  remedies,  and  he  died  at  Some  in 
1798. 

Notwithstanding  certain  imperfections  in  his 
drawing  and  style,  and  in  spite  of  the  violent 
opposition  he  met  with,  Carstens  was  the  foimder 
of  the  new  German  school  of  painters,  for  which 
he  opened  the  road — a  road  that  was  trodden  by 
the  foremost  German  artists  with  extraordinary 
success.  Wachter,  Kock,  Schick,  Genelli,  and 
Thorwaldsen,  and  even  the  great  Cornelius  himself, 
were  practically  his  followers.  Of  Carstens's  works 
many  are  in  private  collections,  the  best  assemblage 
being  in  the  ducal  cabinet  at  Weimar ;  there  may 
be  seen,  amongst  numerous  specimens,  two  espe- 
cially deserving  of  notice  — '  Homer  before  the 
assembled  Greeks '  (engraved  by  E.  Schaffer),  and 
'  Megapenthes  '  (engraved  bv  Julius  Thater). 
CARTARO.  Mario.  See  Kaetarus. 
CARTEAUX,  Jean  Francois,  a  French  general, 
was  born  at  Aillevans  (Haute-Saone)  in  1751. 
He  was  in  early  life  a  pupil  of  Doyen,  but  is  better 
known  as  a  soldier  than  as  an  artist,  Bonaparte 
having  served  under  his  orders  at  the  siege  of 
Toulon  in  1793.  He  died  in  Paris  in  1813.  There 
is  an  equestrian  portrait  of  Louis  XVI.  by  him  at 
Versailles. 
CARTER,    Ellen,  whose    maiden    name    was 


PAINTEES  AND  ENGRAVERS. 


Vavaseur,  made  Ulustrations  for  the  'Gentleman's 
Magazine'  and  other  periodicals.  She  died  in 
1815. 

CARTER,  George,  an  artist  of  considerable 
merit,  is  known  as  the  painter  of  '  The  Death  of 
Captain  Cook,' '  The  Fisherman's  Return,'  and  other 
popular  works,  which  have  been  engraved.  He 
died  in  1786. 

CARTER,  George,  who  was  born  at  Colchester, 
was  an  exhibitor  at  the  Royal  Academy  in  1775, 
when  he  sent  '  A  Wounded  Hussar  on  the  Field  of 
Battle.'  He  afterwards  painted  '  The  Dying  Pil- 
grim,' 'The  Siege  of  Gibraltar,'  and  many  por- 
traits.    He  died  at  Hendon  in  1795. 

CARTER,  James,  a  line-engraver,  was  bom 
in  the  parish  of  Shoreditch  in  1798,  and  evincing 
a  taste  for  art,  was  articled  to  the  architectural 
engraver  Tyrrel.  While  yet  quite  a  youth,  he 
gained  the  silver  medal  of  the  Society  of  Arts. 
After  he  had  served  his  time  to  Tyrrel,  he  aban- 
doned the  style  of  engraving  he  had  learned  in 
the  studio  of  his  master,  and  adopted  landscape 
and  figures,  in  which  he  made  great  progress, 
but  without  any  other  instruction  than  that  he  had 
already  received,  so  that  he  might  almost  be  called 
self-taught.  In  1840  he  essayed  to  publish  a  work 
on  'Windsor  Castle,'  but  failed  in  his  attempt 
from  want  of  the  necessary  support.  He  engraved 
some  plates  after  Prout  and  others  for  the  '  An- 
nuals '  when  those  ephemeral  productions  were 
in  vogue,  as  well  as  some  for  the  '  Vernon  Gallery  ' 
series  in  the  'Art  Journal,'  and  for  other  works 
on  Architecture,  &c.  Amongst  the  engravings 
executed  by  him  were  E.  M.  Ward's  great  picture 
of  'Benjamin  West's  first  Essay  in  Art,'  'Wells 
Cathedral,'  'Santa  Pavilo,'  and  the  'Arc  de  Tri- 
omphe  in  Paris.'  One  of  his  later  engravings  was 
'The  Temple  of  Jupiter  at  Mg'ma.,'  for  a  work 
by  C.  R.  Cockerel!,  R.A.     He  died  in  1855. 

CARTER,  John,  who  is  chiefly  known  as  an 
architectural  draughtsman,  was  born  in  Ireland  in 
1748.  He  was  the  author  of  several  works  on  archi- 
tecture, and  executed  an  immense  quantity  of  draw- 
ings and  sketches.  From  1774  to  1786  he  produced 
the  designs  published  in  the  'Builder's  Magazine,' 
and  for  upwards  of  twenty  years  was  employed 
by  the  Society  of  Antiquaries  as  their  draughts- 
man. His  connection  with  the  '  Gentleman's 
Magazine  '  lasted  from  1798  until  nearly  the  close 
of  his  life.  He  occasionally  exhibited  at  the 
Royal  Academy,  and  at  his  death,  which  occurred 
in  London,  in  1817,  he  left  no  less  than  twenty- 
eight  large  folio  volumes  of  sketches  of  architec- 
tural antiquities,  which  were  sold  by  Sotheby  in 
1818. 

CARTER,  William,  was  an  English  engraver, 
who  was  born  about  the  year  1630.  He  was  a 
pupil  of  Hollar,  whose  style  he  most  successfully 
imitated,  and  whom  he  probably  aided  in  his  works. 
His  engravings  are  mostly  vignettes  and  orna- 
mental book-plates.  The  plates  in  Ogilby's  trans- 
lation of  'Homer'  were  engraved  by  Carter.  His 
plates,  whicli  are  sometimes  marked  W.  C,  were 
mostly  executed  about  the  year  1660. 

CARTIER,  Victor  Emile,  a  French  painter  of 
animals  and  landscapes,  was  bom  at  Versailles 
in  1811,  and  died  in  Paris  in  1866.  The  Museum 
of  Orleans  has  by  him  a  picture  representing  '  A 
Bull  frightened  by  a  Serpent' 

CARTWRIGHT,  John,  a  portrait-painter,  exhi- 
bited at  the  Royal  Academy  from  1784  to  1808. 
CARTWRIGHT,  Joseph,  exhibited  marine  sub- 


jects at  the  Royal  Academy  and  the  Society  of 
British  Artists  from  1824  to  1829.  He  was  ap- 
pointed marine  painter  to  the  Admiralty  in  1828, 
and  died  in  the  following  year. 

CARTWRIGHT,  William,  was  an  English  en- 
graver of  portraits  and  other  book-plates.  His 
name  is  affixed  to  a  portrait  of  Thomas  Cranmer, 
Archbishop  of  Canterbury,  after  Holbein.  It  is 
inscribed,  Coelarif.  Ghi.  Cartvrright. 

CARUCCI.     See  Carrucci. 

CAKUELLE  d'ALIGNY,  Claude  Francois 
Theodore,  a  French  landscape-painter,  was  born 
at  Chaumes  (Nievre)  in  1798.  lie  went  to  Paris 
in  1808,  studied  painting  under  Regnault  and 
Watelet,  and  made  his  debut  in  1822  with  an  his- 
torical landscape  on  the  subject  of  '  Daphnis  and 
Chloe  ;  '  and  this  style  of  art,  now  much  neglected, 
he  constantly  followed.  He  obtained  a  medal  of 
the  first  class  in  1837,  and  the  decoration  of  the 
Legion  of  Honour  in  1842.  His  '  View  of  Genaz- 
zano,  Environs  of  Rome,'  and  '  View  of  Royat, 
France,'  were  sent  by  the  French  Government  to  the 
International  Exhibition  of  1862.  Aligny  died  at 
Lyons  in  1871,  while  holding  the  post  of  Director 
of  the  Ecole  des  Beaux-Arts.  Among  his  most 
important  works  may  be  cited  : 


Amiens.  Museum. 

Besan^on.       Museum. 
Bordeaux.       Museum. 

Caen.  Museum. 

Carcassonne.  Museum. 
Nantes.  Museum. 


VsLiis.S.-Paul.-S.-Louii 
„        S.  Etiey\ne-du- 
Mont. 
Eennes.  Museum. 


The  Good  Samaritan.    1834. 

Christ  at  Emmaus.     1837. 

The  Infant  Bacchus  educated  by 
the  Nymphs  of  Naxos.     1848. 

Death  of  Du  Guesclin.     1838. 

Hercules  and  the  Hydra.     1842. 

The   Entrance  of   the  Village   of 
Corpo  di  Cava,  between  Naples 
and  Salerno. 
.Landscape,  with  Baptism  of  Christ. 

Two  Landscapes  with  Biblical  sub- 
jects. 

Landscape,  with  a  Monk  at  Prayer. 
1839. 

He  likewise  etched  a  series  of  ten  views  of  the 
most  celebrated  sites  of  ancient  Greece. 

CARUS,  Carl  Gdstav,  a  German  painter,  who 
was  born  at  Leipsic  in  1789  and  died  at  Dresden 
in  1869.  He  is  represented  in  the  Dresden  Gallery 
by  two  landscapes. 

CARVALHO,  the  name  of  a  painter  of  the 
16th  century,  probably  Portuguese,  whose  signature 
is  on  a  '  St.  Catharine '  in  the  Madrid  Gallery ;  it 
was  formerly  in  the  Convent  of  Los  Angelos  at 
Madrid,  and  is  his  only  known  work. 

CARVER,  Richard,  a  native  of  Ireland,  practised 
there  as  a  landscape-painter  in  the  middle  of  the 
18th  century.  He  afterwards  removed  to  London, 
and  became  director  of  the  Incorporated  Society 
of  Artists,  to  whose  exhibitions  he  occasionally 
contributed. 

CARVER,  Robert,  a  son  of  Richard  Carver,  and 
a  native  of  Ireland,  was  known  as  an  excellent 
scene-painter  towards  the  close  of  the  18th  century, 
and  was  especially  celebrated  for  his  sea-pieces. 
He  resided  chiefly  in  London,  where  he  died  in 
1791. 

CARWITHAM,  J.,  was  an  English  engraver 
who  flourished  about  1730,  and  was  chiefly  em- 
ployed by  the  booksellers.  His  plates  are  some- 
times executed  with  the  graver  only,  but  at  other 
times  are  etched  and  finished  with  the  graver  in  a 
style  resembling  that  of  Bernard  Picart.  There 
exist  by  him  a  plate  of  the  '  Laocoon,'  dated  1741, 
after  the  antique  marble  group,  and  some  frontis- 
pieces, among  which  is  an  emblematical  one,  from 
a  design  of  B.  Picart,  and  dated  1723. 

263 


A  BIOGEAPHICAL  DICTIONARY  OF 


CAEY,  Francis  Stephen,  the  fifth  son  of  the 
Rev.  Henry  Francis  Gary,  the  trimslator  of  Dante, 
was  born  in  1808.  He  studied  art  in  England  and 
Italy,  and  about  1840  succeeded  Henry  Sass, 
the  well-known  master  of  the  School  of  Art  in 
Bloomsbury,  London.  From  that  time  till  about 
1870  he  imparted  instruction  to  many  young 
painters  and  sculptors  who  were  afterwards  suc- 
cessful in  life.  Gary,  whose  works  were  constantly 
seen  at   the  London  Exhibitions,  died  in  1880. 

CASA,  Niccol6  della.     See  Della  Casa. 

GASA,  PiEB  Antonio  della.     See  Beenabei. 

CASADO  DEL  ALISAL,  Jos^,  was  born  in 
Valencia  in  1832.  He  studied  atthe  Royal  Academy 
of  San  Fernando,  Madrid,  and  under  Federico  de 
Madrazo.  In  1860  he  won  the  'prix  de  Rome,'  and 
first-class  medals  at  Madrid  in  1862,  1864  and 
1881.  He  was  Director  of  the  Spanish  Academy 
and  court  painter,  and  died  in  1895.  His  principal 
picture, '  The  Bell  of  Huesca,'  for  which  he  received 
the  Grand  Cross  of  the  Order  of  Isabel  the  Catholic, 
is  now  in  the  Museum  of  Modern  Art  at  Madrid. 
His  other  pictures  include  'The  Death  of  Ferdinand 
IV.,' '  Seiniramis,' '  Goya's  Studio,' '  Beheaded  Arabs,' 
'Flora'  (1881),  'In  the  Boudoir'  (1882),  'Tempta- 
tion '  (1884),  and  '  Laura  '  (1885). 

CASALI,  Andrea,  called  '  The  Chevalier,'  an 
Italian  painter  and  engraver,  was  born  at  Civiti 
Vecchia  about  1720,  and  is  said  to  have  been  a 
pupil  of  S.  Conca.  He  visited  England  about 
1741,  and  was  employed  in  the  decoration  of  the 
houses  of  several  of  the  nobility,  and  on  altar- 
pieces  for  churches.  He  remained  in  England  till 
1766,  after  which  he  lived  for  some  years  at  Rome. 
He  etched  some  plates  from  his  own  designs  and 
one  from  Raphael. 

CASALINA,  LnciA,  an  eminent  portrait-painter, 
was  born  at  Bologna  in  1677.  She  was  the  pupil 
of  Giuseppe  dal  Sole,  and  at  first  attempted  some 
historical  subjects,  but  became  much  more  success- 
ful in  portraits.  Her  own  portrait,  by  herself,  is 
in  the  Gallery  of  Florence.  She  married  Felice 
Torelli,  and  died  in  1762. 

CASANOBRIO,  Luca.    See  Carlevariis. 

CASANOVA,  Carlos,  born  at  Exiia  de  los  Cabal- 
leros,  in  Aragon,  studied  painting  under  Geronimo 
Secano  at  Saragossa.  He  became  painter  to  Ferdi- 
nand VI.,  and  died  at  Madrid  in  1762.  He  executed 
a  portrait  of  Ferdinand  VI.,  and  one  of  Fray 
Miguel  de  San  Josef  presenting  his  'Bibliografia 
critica'  to  Pope  Benedict  XIV.  He  also  engraved 
Herera's  picture  of  '  St.  Augustine,'  at  Madrid,  and 
some  plates  for  the  first  edition  of  Ulloa's  '  Relacion 
historica  del  viage  a  la  America  meridional,'  Madrid 
1748. 

CASANOVA,  Francesco  Giuseppe,  was  born  in 
London  in  1727,  of  Italian  parents,  who  sent  him 
while  still  young  to  Venice,  where,  after  receiving 
some  instruction  from  Guardi,  he  became  a  pupil  of 
Francesco  Simonini,  a  painter  of  battle-pieces,  and, 
like  him,  took  Borgognone  for  his  model.  Besides 
battle-pieces  Casanova  painted  landscapes  with 
figures  and  cattle,  as  well  as  sea-pieces  and  pastoral 
subjects.  He  arrived  in  Paris  in  1751,  and  went  to 
Dresden  in  tlie  following  year,  where  he  remained 
until  1757.  On  his  return  to  Paris  he  studied 
under  Parocel,  and  was  received  into  the  Academy 
in  1763.  He  exhibited  at  tlie  Salon  till  1783,  when 
he  went  to  Vienna.  He  died  at  Briihl  in  1802. 
He  was  a  clever  painter,  often  powerful,  often 
fascinating,  but  inferior  to  Borgognone  and  far 
below  Salvator  Rosa,  and  now  thought  no  more  of 

264 


than  his  pupil  Loutherbourg.     The  following  are 
some  of  his  principal  paintings  : 

Bordeaux,  Museum,  Cavalry  Engagement.  Dulwieh, 
Gallery^  "NYanderers  near  a  river.  Lille,  Museum^ 
Two  Landscapes.  Paris,  Louvre^  Battle  of  Fribourg, 
1771  ;  Battle  of  Lens,  1771 ;  Landscape  with  animals ; 
Landscape  with  animals ;  A  Cavalier  galloping ;  A 
Cavalier  and  other  soldiers.  Petersburg,  Hermitage, 
A  Cow.     Vienna,  Gallery,  Cavalry  Engagement. 

ETCHINGS. 

The  Russian  Drummer  on  horseback.  The  Tliree 
Cuirassiers.  The  Standard.  A  Cavalry  Skirmish. 
The  Ass  and  the  Banner.     The  Painter's  Dinner. 

CASANOVA,  Francisco,  the  son  and  scholar  of 
Carlos  Casanova,  born  at  Saragossa  in  1734,  prac- 
tised painting  and  copper-plate  engraving.  Cean 
Bermudez  mentions  with  commendation  a  print  of 
'  St.  Emidius '  executed  by  him  at  Cadiz  in  1765. 
He  was  appointed  engraver  to  the  mint  at  Mexico, 
where  he  died  in  1778. 

CASANOVA,  Giovanni  Battista,  brother  of 
Francesco  Casanova,  was  bom  at  Venice  in  1722. 
He  studied  painting  under  Silvestre  and  Dietrich  at 
Dresden,  and  went  in  1752  to  Rome,  where,  under 
the  tuition  of  Mengs,  he  became  an  accomplished 
artist  in  pencil  and  crayon.  Amongst  other  works 
he  designed  the  plates  to  Winckelmann's  '  Monu- 
menti  antichi.'  He  was  appointed  professor  in 
the  Academy  at  Dresden  in  1764.  His  death 
occurred  in  1796. 

CASANOVA,  JoYER  Y,  a  Spanish  painter,  pro- 
duced many  pictures  of  historical  subjects,  of  which 
the  most  important  was,  'The  Queen  Regent  taking 
the  Oath  before  the  Cortes.'     He  died  in  1890. 

CASELLI,  Cristoforo,  who  was  also  known  as 
Cristofobo  da  Parma,  or  II  Temporello,  and 
called  by  Vasari  Cristofano  Castelli,  was  a  pupil 
of  Mazzuola,  and  lived  in  the  15th  and  16th  cen- 
turies. He  earned  his  livelihood  between  1489  and 
1492  as  a  journeyman  at  Venice,  where  he  painted, 
in  1495,  an  altar-piece  now  hanging  in  the  Sacristy 
of  Santa  Maria  della  Salute.  The  Gallery  of  Parma 
contains  a  '  Virgin  and  Child,  with  SS.  John  the 
Baptist  and  Jerome,'  probably  painted  by  him 
before  1489.  In  1496  he  became  a  master  at 
Parma,  and  painted  in  1499  a  '  Virgin  and  Child 
between  SS.  Hilarius  and  John  the  Baptist,'  which 
is  now  in  the  Sala  del  Consorzio  in  that  city.  The 
same  year  he  executed  '  The  Eternal '  on  a  gold 
ground  in  a  ch.apel  of  the  cathedral,  and  the 
'  Adoration  of  the  IVIagi '  in  San  Giovanni  Evange- 
lista.  In  1607  he  finished  the  monochrome  of  the 
'  Dead  Christ '  in  the  cathedral.  The  dates  of  hi8 
birth  and  death  are  alike  uncertain. 

CASEMBROODT,  Abraham,  a  Dutch  painter, 
flourished  about  the  middle  of  the  17th  centurj'. 
He  disting-uished  himself  at  Messina  as  a  landscape 
and  marine  painter.  He  occasionally  painted 
historical  events,  and  some  pictures  by  him  are  in 
the  church  of  San  Giovacchino  at  Messina.  He 
has  also  left  a  few  etchings  of  marine  subjects. 

GASENTINO,  JACoro  del.     See  Landini. 

CASEY,  D.iNlEL,  a  French  historical  painter,  was 
a  pupil  of  Wajipers,  in  whose  atelier  at  Antwerp 
he  was  a  fellow-student  with  Mr.  Ford  Madox 
Brown.  He  first  exhibited  at  the  Salon  of  1842, 
when  he  contributed  a  '  St.  Louis  in  the  Desert, 
near  Damietta,'  which  was  bought  by  the  Govern- 
ment, and  is  now  in  the  Bordeaux  Museum.  He 
exhibited  constantly  in  Paris  and  Belgium,  and 
became  known  as  a  powerful  painter  of  ambitious 


PAINTERS  AND  ENGRAVERS. 


themes,  excelling  especially  in  his  rendering  of 
horses.  Casey  died  in  Paris,  December  27, 
1885. 

CASINI,  Giovanni,  called  Varlunga,  from  the 
place  of  his  birth  in  Tuscany,  was  born  in  1689. 
He  was  a  portrait  painter  as  well  as  a  sculptor, 
and  died  in  1748. 

CASOLANO,  Alessandro,  called  also  Ai.essan- 
DRO  BELLA  ToRRE,  was  bom  at  Siena  in  1552,  and 
was  the  pupil  of  Salinibeni  and  of  Roncalli, 
under  whose  tuition  he  became  a  very  reputable 
historical  painter.  His  compositions  are  ingenious 
and  copious,  his  figures  well  drawn  and  gracefully 
disposed.  His  works  are  principally  in  the  churches 
of  Siena,  but  are  also  to  be  found  in  Naples  and 
Genoa.  His  own  Portrait  is  in  the  UfiSzi,  Flor- 
ence. It  is  no  slight  proof  of  this  artist's  merit, 
th.at  Guido  Reni,  on  seeing  his  picture  of  the 
'  Martyrdom  of  St.  Bartholomew,'  at  the  Carmel- 
ites, exclaimed,  "Cestui  e  veramente  pittore  1 ' 
He  also  etched  one  plate,  a  Madonna.  He  died  in 
1606. 

CASOLANO,  Ilario,  is  called  Cristofano  Caso- 
lano  by  Baglione,  but  Mancini,  who  was  his  con- 
temporary, and  Lanzi,  both  call  him  Ilario.  He 
was  born  in  1588,  and,  like  his  father,  Alessandro 
Casolano,  was  a  pupil  of  Cavaliere  Roncalli.  He 
assisted  his  father  in  some  of  his  frescoes,  and 
after  his  death  finished  that  of  the  '  Assumption 
of  the  Virgin,'  left  imperfect  by  him.  He  painted 
several  pictures  for  the  churches  in  Rome,  both  in 
oil  and  in  fresco,  but  was  superior  in  the  latter. 
The  church  of  Santa  Maria  in  Via  contains  a 
"Trinity,'  and  that  of  La  Madonna  de'  Monti  some 
pictures  from  the  Life  of  the  Virgin  and  an  '  As- 
cension '  by  this  artist.     He  died  at  Rome  in  1661. 

CASPAR,  Joseph,  who  was  born  in  1799  at 
Rorschach  in  Switzerland,  studied  at  Rome  in 
1815,  at  Berlin  under  Schadow  in  1820,  and  at 
Milan  under  Longhi  and  Anderloni,  when  he  gave 
himself  up  entirely  to  the  art  of  engraving.  He 
resided  the  greater  part  of  his  life  at  Berlin.  Fail- 
ing sight  compelled  him  to  relinquish  his  art  in 
1847,  and  he  died  in  1880.  The  following  are  some 
of  his  best  plates  : 

St.  Catharine ;  after  Raphael. 
The  Colonna  Madonna  ;  after  the  same. 
The  Daughter  of  Titian;  after  Titian  (the  Berlin  Gal- 
lery picture). 
St.  Barbara ;  after  Behraffio. 
Thomas  of  Savoy,  Prince  of  Carignan  ;  after  Van  Dyck. 

CASPARI,  Heinrich  Wilhelm,  was  born  at 
Wezel  in  1770,  and  became  a  pupil  of  the  land- 
scape-painter Grypinoed.  He  painted  a  great 
number  of  excellent  portraits,  and  died  in  1829. 

CASSANA  FAMILY. 

Giovanni  Francesco. 
(1611—1691.) 

I 


Nic< 


GioTauni  Agoatino.    Niccolib.    Giovanui  Eattlata.    Maria  Vittoria. 
U65S— 1720.)  (1C69- 1714.1  (    »    —1711.) 

CASSANA,  Abbate  Giovanni  Agostino,  was  an 
elder  son  of  Giovanni  Francesco  Cassana  and  a 
brother  of  Niccold;  he  was  born  at  Genoa  in  1658, 
and  was  instructed  by  his  father.  He  painted 
portraits  with  some  succes.s,  but  preferred  painting 
animals  and  subject  pictures,  in  the  style  of  Bene- 
detto Castiglione.  His  pictures  of  that  description 
are  found  in  the  collections  at  Florence,  Venice, 
and  Genoa.     He  died  at  Genoa  in  1720. 

CASSANA.  Giovanni  Battista,  was  the  young- 


est son  of  Giovanni  Francesco  Cassana.  He 
excelled  in  painting  fruit,  flowers,  and  still-life. 

CASSANA,  Giovanni  Francesco,  was  born  at 
Genoa  in  1611,  and  was  the  pupil  of  Bernardo 
Strozzi.  He  devoted  himself  to  history  and  portraits, 
but  was  more  eminent  in  the  latter,  of  which  he 
painted  a  great  number  at  Venice,  where  he  chiefly 
resided.  He  passed  some  time  at  the  Court  of 
Mirandola,  where  he  painted  a  '  St.  Jerome '  in  the 
church,  and  other  creditable  works.  He  was  the 
father  of  a  family  of  artists,  who  all  distinguished 
themselves.     He  died  in  1691. 

CASSANA,  Maria  Vittoria,  was  the  daughter 
of  Giovanni  Francesco  Cassana.  She  painted  small 
pictures  of  religious  subjects  for  private  collec- 
tions, and  her  works  are  much  esteemed.  She 
died  in  1711. 

CASSANA,  Niccol6,  called  Nicoletto,  a  son  of 
Giovanni  Francesco  Cassana,  was  bom  at  Venice 
in  1659,  and  was  instructed  by  his  father  in  the 
rudiments  of  art.  He  excelled  principill}-  in  por- 
trait painting,  in  which  he  became  very  eminent, 
although  liis  historical  pictures  in  the  Gallery  at 
Florence,  of  which  the  '  Conspiracy  of  Catiline ' 
is  the  most  esteemed,  prove  that  he  possessed 
great  merit  in  that  direction.  He  came  to 
England  in  the  reign  of  Queen  Anne,  whose  por- 
trait he  painted,  as'  well  as  those  of  several  of 
the  nobility.  He  did  not  live  long  to  enjoy  this 
success,  but  died  in  London  in  1714. 

CASSAS,  LoDis  Franijois,  a  French  painter  and 
architect,  was  born  at  Azay-le-Ferron  (Indre)  in 
1756.  After  having  studied  under  the  younger 
Lagren6e  and  Leprince,  as  well  as  in  Italy,  he 
accompanied  Choiseul-Gouffier  to  Constantinople 
and  Lechevallier  tothe  Troad.  He  then  travelled 
through  the  Holy  Land.  Syria,  and  Egypt,  collect- 
ing everywhere  numerous  drawings  and  plans, 
which  served  for  the  following  publications  :  '  Voy- 
age pittoresque  de  la  Syrie,  de  la  Phenicie,  de  la 
Palestine  et  de  la  Basse  Egypte,'  1799 ;  '  Voyage 
historique  et  pittoresque  de  I'Istrie  et  de  la  Dal- 
matic,' 1802;  '  Grandes  Vues  pittoresques  des 
principaux  Sites  et  Monuments  de  la  Grece,  de  la 
Sicile,  et  des  Sept  Collines  de  Rome,'  engraved  in 
outline  by  Cassas  and  Bance,  with  text  by  Landon, 
1813.  He  was  inspector  and  professor  of  drawing 
at  the  tapestry  manufactory  of  the  Gobelins,  and 
was  also  the  founder  of  the  gallery  of  models  of 
architecture  of  different  nations  placed  in  the  Ecole 
des  Beaux-Arts.  Cassas  died  at  Versailles  in 
1827. 

CASSEVARI,  Giovanni  Battista,  was  born  at 
Genoa  in  1789,  and  at  an  early  age  visited  Florence, 
where  he  attended  the  academy  of  Benvenuti. 
.\fter  having  taken  part  in  the  campaigns  of  1813- 
14,  and  been  present  at  the  battle  at  Paris,  he 
returned  to  Turin  and  Genoa,  and  in  1824  went  to 
Florence  and  Rome.  In  these  cities  he  painted  a 
great  number  of  miniature  portraits,  and  devoted 
iiimself  to  the  study  of  the  great  masters.  The 
portraits  in  oil  afterwards  executed  by  him  in 
England  are  painted  in  the  style  of  the  Italian 
and  Dutch  masters.  Buckner  and  Crispini  were 
his  pupils.  There  is  by  him  in  the  church  at 
FrosiTii  a  '  Madonna  and  Child.'     He  died  in  1876. 

CASSIANI,  Padre  Stekano,  called  II  Certosino, 
was  a  native  of  Lucca,  and  flourished  about  the 
year  16G0.  He  was  called  11  Certosino,  or  the 
Carthusian,  because  he  was  a  monk  of  that  order. 
He  painted  in  fresco  the  cupola  of  the  church  of 
the  Carthusians  at  Lucca  as  well  as   two  of   its 

265 


A  BIOGRAPHICAL  DICTIONARY  OF 


altar-pieces,  representing  subjects  from  the '  Life  of 
the  Virgin.'  Other  churches  of  his  order  at  Pisa, 
Siena,  &c.,  also  contain  works  by  him.  They  are 
all  very  reputable  perfonnanceB,  and  in  the  style  of 
Pietro  da  Cortona. 

CASSIE,  James,  a  Scotch  landscape-painter,  -was 
horn  at  Inverurie  in  1819 :  but  the  greater  part  of 
his  life  was  passed  in  Aberdeen.  He  was  chiefly 
self-taught,  and  at  first  painted  portraits  and  ani- 
mals. It  was,  however,  to  marine  landscapes  that 
he  finally  devoted  himself,  and  in  which  he  ex- 
celled. He  was  noted  for  calm,  quiet  effects  of 
moonlight  or  sunset,  and  there  is  hardly  a  picture 
of  his  in  existence  representing  morning  or  after- 
noon sunlight.  He  became  an  associate  of  the 
Scottish  Academy  in  1869,  and  was  made  a  full 
member  in  the  February  preceding  his  death, 
which  took  place  in  May  1879,  in  Edinburgh, 
where  the  last  years  of  his  life  had  been  spent. 
Amongst  his  chief  works  are : 

Ben  Lomond  from  the  Tay, 
Holy  Island  Castle. 
Chaik  CliSs,  Sussex. 
A  Highland  Goatherd. 
The  Mouth  of  the  Mersey. 
The  Mussel  Gatherers. 

The  Firth  of   Tay— E.ist  Coast  oi  Scotland   (in  the 
Edinburgh  National  Gallery), 

CASSIONE,  GiovAxxi  Fba:<cesco,  was  an  Italian 
wood-engraver,  who  flourished  at  Bologna  about 
the  year  1678.  He  executed  several  cuts  repre- 
senting the  portraits  of  the  painters  for  the  work 
entitled  '  Felsina  Pittrice,'  by  Carlo  Cesare  llalvasia, 
published  at  Bologna  in  1678. 

CASTAGNO,  A.VDREA  del,  was  bom  in  1390,  his 
father,  Bartolommeo  di  Simone,  being  a  small  pro- 
prietor and  labourer  in  Sant'  Andrea  a  Linari,  near 
Florence.  He  received  the  name  of  '  Del  Castagno' 
either  because  he  was  born  in  the  village  of  Cas- 
tagno (in  the  Muggello),  or  else  because  he  spent 
there  the  first  years  of  his  life.  He  was  first  stimu- 
lated to  study  art  by  chancing  to  come  across  an 
itinerant  painter  at  work  in  a  tabernacle,  which 
induced  him  to  commence  drawing  figures  on  walls 
and  stones.  Some  of  his  efforts  attracted  the  atten- 
tion of  Bernardetto  de'  Medici,  who  took  him  to 
Florence,  where  he  learned  to  paint.  His  early  life 
was  full  of  privations,  he  himself  saying  that  in 
1430  he  was  poor,  very  poor,  inasmuch  as  he  had 
neither  bed,  board,  nor  lodging  in  Florence,  and 
had  but  recently  been  discharged  from  the  hos- 
pitals of  Santa  Maria  Nuova  and  the  Pinzocheri, 
after  having  endured  a  few  months'  sickness. 
The  story  told  by  Vasari  of  his  having  killed 
Domenico  Veneziano  through  jealous}'  is  not  true  : 
first,  because  the  two  artists  were  never  working 
together  at  any  time  ;  and  secondly,  because  Do- 
menico survived  Andrea  nearly  four  years.  Soon 
after  1-130  he  painted,  for  the  niches  of  a  hall  in 
the  Villa  Pandolfini  (now  a  farm-house)  at  Legnaia, 
a  series  of  portraits  of  celebrated  men  and  the 
Sibyls.  These  were  intended  to  be  viewed  at  a 
great  height,  as  may  be  seen  from  the  remains  of 
them  existing  in  the  depot  of  the  Uffizi  Gallery. 
Amongst  them  are  the  portraits  of  Pippo  Spano, 
Farinata,  Niccolo  Acciaiuoli,  Dante,  Petrarch,  Boc- 
caccio, as  well  as  Esther,  Tomiris,  and  the  Sibyl  of 
Cuma-.  In  1435  the  Government  of  Florence  com- 
missioned Castagno  to  paint  in  the  Palazzo  del 
Podesta  the  portraits  of  the  fallen  leaders  of  the 
Peruzzi  and  Albrizzi  factions.  His  success  in  doing 
this  earned  him  the  name  of  '  Andreino  degli  Impic- 

266 


eati.'  In  1444  Andrea  worked  at  the  church  of  Santa 
Maria  dei  Fiore,  and  furnished  a  design  for  the 
'  Deposition  from  the  Cross '  intended  for  the  decor- 
ation of  the  cupola.  In  1446  Andrea  decorated, 
the  organ  of  the  cathedral,  and  in  1451  painted 
several  frescoes  in  the  hospital  of  Santa  Maria 
Nuova,  where  he  had  been  received  in  his  poverty 
in  1430,  and  it  is  concerning  the  decoration 
of  this  building  that  Vasari  tells  his  story  about 
the  rivalry  with  Domenico  V^eneziano,  whereas  re- 
cords remain  to  prove  that  it  was  six  years  previ- 
ous to  1451  that  Domenico  painted  Ms  frescoes. 
The  works  of  both  have  now  perished.  In  1455 
Castagno  executed,  in  imitation  of  sculpture,  the 
colossal  equestrian  figure  of  Niccolo  "Tolentino, 
nhich  now  hangs  in  the  cathedral  close  to  the 
colossal  figure  of  '  Sir  John  Hawkwood '  by 
Uccelli,  a  master  whom  Castagno  approached  in 
style  nearer  than  any  other.  Castagno  died  in 
1457,  and  was  buried  in  Santa  Maria  de'  Servi, 
Florence.  His  last  work,  in  1457,  was  the  refectory 
of  the  hospital  of  Santa  Maria  Nuova.  He  is  said 
to  have  painted  in  oil,  but  no  work  by  him  in  that 
medium  exists.  Many  of  this  artist's  frescoes  have 
perished ;  but  the  following  are  among  those  that 
remain: 

Florence.  St.  Apollonia.  Last  Supper. 
„  Academy,         St.  Jerome. 

„  „  The  Magdalen. 

„  „  St.  John  the  Baptist. 

See  Crowe  and  Cavalcaselle's  '  History  of  Paint- 
ing in  Italy,'  vol.  ii. 

CASTANEDA,  Gregoeio,  a  Spanish  historical 
painter,  flourished  in  Valencia  about  1625,  and 
is  said  to  have  been  the  pupil  and  son-in-law  of 
Francisco  Ribalta,  to  whom  his  works  are  usually 
attributed  in  Spain.     He  died  at  Valencia  in  1629. 

CASTEELS,  PlETER,  a  Flemish  painter  and  en- 
graver, was  born  at  Antwerp  in  1684,  and  came  to 
England  in  1708.  He  painted  birds,  flowers,  and 
fruit ;  but  his  paintings  have  not  much  to  recom- 
mend them,  and  were  greatly  inferior  to  those  of 
an  English  contemporary  artist,  Luke  Cradock. 
As  an  engraver  he  has  more  merit.  In  1726  he 
published  a  set  of  twelve  plates  of  birds  and  fowls, 
etched  from  his  own  designs  ;  and,  besides  these, 
executed  some  other  plates  from  his  own  pictures. 
He  died  at  Richmond  in  1749. 

CASTEL,  Alexander,  was  a  Flemish  landscape 
and  battle  painter,  some  of  whose  pictures  are  in 
the  galleries  at  JIunich,  Schleissheim,  and  Ltistheim. 
He  died  at  Berlin  in  1694. 

CASTELLAN,  Axtoine  Laurent,  a  French 
painter,  architect,  and  engraver,  was  bom  at  Mont- 
pellier  in  1772.  .After  having  studied  landscape 
painting  under  Valenciennes,  he  visited  Turkey, 
Greece,  Italy,  and  Switzerland, and  published  several 
series  of  letters  upon  those  parts,  illustrated  with 
views  drawn  and  engraved  by  himself.  His  best- 
known  work  is  the  '  Mceurs,  usages,  costumes  des 
Othomans,'  published  in  1812,  and  highly  praised  by 
Lord  Byron.  He  also  wrote  '  Etudes  sur  le  ChS- 
teau  de  Fontainebleau,'  which  was  not  printed 
uirtil  after  his  death,  which  occurred  in  Paris  in 
1838.  Castellan  was  also  the  inventor  of  a  new 
process  of  painting  in  wax. 

CASTELLANO,  El.    See  Garcia  Hidalgo. 

CASTELLI  FAMILY.  There  being  two  families 
of  artists  of  the  name  of  CastelU  or  Castello,  the 
accompanying  tables  may  help  to  make  the  relation- 
ship plainer. 


ANDREA  DEL  CASTAGNO 


Alinari  phot6\ 


GIOVANNI  BOCCACCIO 


\Sa7it'  ApoUonia^  Florence 


PAINTERS  AND  ENGRAVERS. 


CASTELLI  FAMILY  (of  Bergamo). 


GioTanoi  Battisfra  (II  Bergamasco), 
(16(»-liS79.) 


Niccola  Granello. 

<Probably  step-son.) 

(  ;  —1593.) 


Fabrizio. 

(  ?  -1617.) 

I 

Felice. 

(1602-1668.) 


CASTELLI  FAMILY  (of  Genoa). 


GioTanni  Battiata. 
(1647-1637.) 


Bernardo. 
(1557—1629.) 

Valerio. 
(1625—1669.) 


CASTELLI,  Annibale,  was  a  native  of  Bologna, 
who  flourished  about  the  year  1605.  He  was  a 
scholar  of  Pietro  Faccini,  and  by  imitating  his 
manner,  he  fell  into  the  same  defect  that  is  dis- 
cernible in  the  works  of  that  master.  By  loading 
and  tormenting  his  carnations,  he  disturbed  his  out- 
line, and  his  figures  became  heavy  and  incorrect. 
His  best  work  is  the  'Raising  of  Lazarus,'  in  the 
church  of  San  Paolo,  at  Bologna. 

CASTELLI,  Bernardo.    See  Castello. 

CASTELLI,  Cristofano.     See  Caselli. 

CASTELLI,  Fabrizio.     See  Castello. 

CASTELLI,  Felice.    See  Castello. 

QASTELLI,  Giovanni  Battista.    See  Castello. 

CASTELLI,  Valerio.     See  Castello. 

CASTELLINI,  Raffaelle,  was  director  of  the 
Mosaic  School  at  the  Vatican,  and  executed  the 
splendid  mosaics  of  'The  Sibyl  of  Cumae,'  after 
Domenichino,  and  '  St.  John  the  Baptist,'  after 
Guercino.     He  died  at  Rome  in  1864. 

CASTELLO,  AvANZiNO  da  Citta  di.  See  A  vanzino. 

CASTELLO,  Bernardo,  (or  Castelli,)  was  a 
Genoese  painter,  born  in  1557.  He  was  a  scholar 
of  Andrea  Semini,  and  an  imitator  of  Luca  Cam- 
biaso.  In  endeavouring  to  acquire  the  facility  of 
the  latter,  he  fell  into  all  his  defects,  and  abandoned 
nature  for  manner  and  despatch.  An  able  designer, 
his  works  would  have  approached  nearer  to  per- 
fection if  he  had  taken  the  trouble  of  studying 
them.  He  was  copious  and  ready  in  invention, 
because  his  judgment  was  not  difficult  to  satisfy. 
He  lived  in  habits  of  intimacy  with  the  principal 
poets  of  his  time,  and  made  the  designs  for  Tasso's 
'  Jerusalem  Delivered,'  which  were  engraved  by 
Agostino  Carracci.  He  died  in  1629.  He  was  also 
an  eminent  miniaturist ;  and  is  praised  by  Marino, 
the  poet,  for  the  skill  and  accuracy  of  his  repre- 
sentations of  various  insects. 

Genoa.    S.  Francesco.  St.  James  and  St.  Jerome. 

S.  Ciro.  Christ  disputing  with  the  Doctors. 

Capuchins,  St.  Francis  receiTing  the  Stigmata. 

„  Crucifixion. 

„  St.  Anthony  of  Padua. 
St.  Clara. 

Kome.     S.  Peter's.  St.  Peter  walking  on  the  Sea. 

CASTELLO,  Castellino,  was  born  at  Turin  in 
1579,  and  was  the  pupil  of  Giovanni  Battista 
Paggi,  under  whom  he  acquired  a  correct  and  ele- 
gant style  of  design.  His  picture  of  the  '  Descent 
of  the  Holy  Ghost,'  in  the  church  of  the  Spirito 
Santo  at  Genoa,  gained  him  a  great  reputation.  He 
was  also  a  very  eminent  portrait-painter,  and,  ac- 
cording to  Lanzi,  when  Van  Dyck  visited  Genoa, 
he  particularly  admired  the  style  of  Castello,  and 
they  reciprocally  painted  each  other's  portraits. 
He  was  related  to  Bernardo  and  Valerio  Castello, 
and  died  in  1649. 

CASTELLO,  Fabrizio,  (or  Castelli,)  was  the  son 


of  II  Bergamasco,  and  employed  by  Philip  II.,  in 
conjunction  with  other  painters,  to  decorate  parts 
of  the  Escorial.  One  of  the  subjects  on  which 
they  were  employed  was  the  victory  gained  by 
John  II.  over  the  Moors  of  Granada;  it  was  copied 
from  a  painting  by  Dello  on  a  canvas  130  feet  in 
length,  which  was  found  in  an  armoire  of  the 
Alcazar  at  Segovia,  and  is  a  most  curious  com- 
position. He  also  painted  at  the  Pardo,  where  he 
executed  several  frescoes  ;  and  he  coloured  forty- 
eight  busts  of  Saints  sculptured  by  Juan  de  Arf e  for 
the  Escorial.  He  was  considered  to  be  an  artist  of 
great  talent.     He  died  at  Madrid  in  1617. 

CASTELLO,  Felice,  (or  Castelli,)  a  Spanish 
historical  painter,  was  born  at  Madrid  in  1602. 
Receiving  his  first  instruction  in  art  from  bis  father, 
Fabrizio  Castello,  he  afterwards  became  a  pupil  of 
Vicente  Carducho,  whose  style  he  sought  to  imitate, 
producing  some  works  of  merit,  although  not  equal 
to  those  of  his  master.  The  Madrid  Gallery  has 
two  excellent  paintings  by  him,  '  The  Disembarca- 
tion  of  General  Don  Fadrique  de  Toledo  in  the  Bay 
of  San  Salvador,'  and  '  Spanish  Soldiers  under  the 
command  of  Don  Baltasar  de  Alfaro  swimming  to 
attack  the  Dutch.'  Carducho  was  so  pleased  with 
the  composition  of  these  pictures  that  he  requested 
permission  to  paint  the  head  of  Dun  Fadrique  in 
the  first.     Castello  died  at  Madrid  in  1656. 

CASTELLO,  Francisco  de,  was  born  in  Flan- 
ders, of  Spanish  parentage,  in  1556.  He  visited 
Rome,  for  the  purpose  of  study,  when  quite  young, 
during  the  pontificate  of  Gregory  XIII.  He  painted 
historical  pictures,  generally  small  in  size,  which 
were  much  sought  after.  He  also  executed  some 
pictures  for  the  churches  at  Rome.  In  the  church 
of  San  Giacomo  degli  Spagnuoli  is  an  altarpiece  of 
the  '  Assumption  of  the  Virgin,'  with  a  Glory  of 
Angels,  and  the  Apostles  below ;  and  in  that  of 
San  Rocco  di  Ripetta  is  a  picture  of  the  '  Madonna 
and  Child,  with  SS.  Nicholas  and  Julian.'  He 
died  at  Kome  in  1636. 

CASTELLO,  Giovanni  Battista,  (or  Castelli,) 
called  II  Bergamasco,  was  born  at  Gandino,  in  the 
Valle  Seriana,  in  the  Bergamese,  in  1609.  He  was 
called  II  Bergamasco  to  distinguish  him  from  the 
Genoese  painter  of  the  same  name,  who  excelled 
in  miniature.  When  he  was  young  he  was  entrusted 
to  the  care  of  Aurelio  Basso,  of  Crema,  a  scholar 
of  Polidoro  da  Caravaggio,  by  whom  he  was  taught 
the  first  principles  of  the  art.  That  painter  took 
him  with  him  to  Genoa,  and  after  some  time  left 
him  in  that  city,  unprotected  and  abandoned,  but 
considerably  advanced  by  his  studies  after  the  best 
masters  of  that  school.  He  had  the  good  fortune 
to  attract  the  attention  of  a  Genoese  nobleman, 
Tobia  Pallavicino,  who  took  him  under  his  pro- 
tection, and  sent  him  to  Rome  to  study  the  works 
of  the  great  masters,  and  supported  him  until  he 
arrived  at  great  proficiency  in  painting,  sculpture, 
and  architecture.  On  his  return  to  Genoa,  he  first 
exhibited  his  talents  in  decorating  the  palace  of 
his  protector,  and  in  painting  some  frescoes  in  the 
church  of  San  Marcellino.  In  the  monastery  of 
San  Sebastiano  is  his  justly  celebrated  picture  of 
the  Martyrdom  of  that  Saint,  by  which  he  acquired 
great  reputation.  Whilst  he  was  in  full  possession 
of  the  public  favour,  Luca  Cambiaso  returned  to 
Genoa,  after  completing  his  studies  at  Florence 
and  at  Rome,  when  an  honourable  and  laudable 
emulation  seems  to  have  taken  place  between  these 
artists,  and  to  have  been  advantageous  to  both. 
They  were  together  employed  by  the  Duke  Gri- 

267 


A  BIOGRAPHICAL  DICTIONARY  OF 


maldi,  in  the  Nunziata  di  Portoria,  where  Castello 
represented  in  the  ceiling  of  the  choir  the  Saviour 
sitting  as  the  Judge  of  the  World,  surrounded  by 
angels,  some  bearing  the  instruments  of  the  Pas- 
sion, and  others  displaying  a  scroll,  inscribed  Yenite 
Benedicti,  painted  with  a  beauty  of  colour,  and  an 
effect  of  light  emanating  from  the  figure  of 
Christ,  which  dazzle  the  beholder.  Luca  Cam- 
biaso  painted  the  laterals,  representing  the  fate 
of  the  Blessed  and  the  Reprobate,  which,  though 
possessed  of  great  merit,  are  eclipsed  by  the  tran- 
scendent powers  of  Castello  in  composition  and 
expression.  On  visiting  his  native  country,  am- 
bitious of  leaving  something  worthy  of  his  fame, 
he  undertook  his  great  work  in  the  saloon  of  the 
Lanzi  Palace  at  Gorlago,  where  he  has  represented 
some  of  the  most  interesting  subjects  of  the  '  Iliad  ' 
whh  a  grandeur  that  resembles  the  style  of  Giulio 
Romano.  Towards  the  latter  pan  of  his  life  he  was 
invited  by  Charles  V.  to  visit  Spain,  and  was  em- 
ployed by  that  monarch  in  the  palace  of  the  Pardo, 
which  he  ornamented  with  some  subjects  from 
Ovid,  and  in  several  other  works.  He  died  at 
Madrid  in  1579. 

CASTELLO,  Giovanni  Battista,  (or  Castelli,) 
called  in  Castile  El  Gekovese,  to  distinguish  him 
from  the  painter  of  the  same  name  called  II  Ber- 
gamasco,  was  a  skilful  painter  of  illuminations  and 
miniatures,  employed  upon  the  choir  books  of  the 
Escorial.     He  was  born  in  Genoa  in  1547,  and  was 
the  brother  of  Bernardo  Castello.    He  went  to  Spain 
with  Cambiaso  in  1583,  returned  to  Genoa  about  the 
end  of  the  century,  and  died  in  his  native  city  in  1637. 
CASTELLO,  NiccoLO  Granello.    See  Granello. 
CASTELLO,  Valeric,  (or  Castelli,)  was   the 
son  of  Bernardo  Castello.    He  was  born  in  Genoa 
in  1625,  and  was  a  scholar  of  Domenico  Fiasella. 
He  did  not,  however,  follow  the  style  of  either  his 
father  or  instructor,  but  made  choice  of  prototypes 
more  suited  to  his  genius,  by  studying  the  works 
of  Procaccini  at  Milan,  and  of  Correggio  at  Parma, 
from  whose   example,  and   a  graceful  manner  of 
disposing  his  figures,  which  was  natural  to  him,  he 
formed  a  style  which  may  be  called  entirely  his 
own.       His   design   is   sometimes    not    the    most 
correct,  but  his  works  are  judiciously  composed, 
harmoniously  and  vigorously  coloured,  and  admir- 
able in  their  chiaroscuro.     In  his  fresco  paintings 
he  nearly  approaches  the  excellence  of  Carloni,  as 
is  evident  in  the  cupola  of  the  Nunziata  at  Genoa, 
and  in  Santa  Maria.     In  the  church  of  Santa  Maria 
del   Gerbino   is   his   picture  of  the  '  Conception,' 
with  two  laterals  of  the  '  Marriage  of  the  Virgin ' 
and  the  'Presentation  in  the  Temple  ;'  and  in  the 
ceiling,  in  fresco,  the   '  Coronation  of  the  Virgin,' 
with  a  choir  of  angels ;  in  the  church  of  the  Bene- 
dictines, the  '  Annunciation  ;  '  at  the  Franciscans, 
the  '  Conversion  of  St.  Paul ' :   at  the  Augustines, 
the  ceiling  representing  the  '  Descent  of  the  Holy 
Ghost.'     Valeric  Castello  also  excelled  in  painting 
battles,  and  subjects  of  profane  history,  in  which 
he  seems  to  have  followed  the  style  of  Tintoretto 
and    Paolo   Veronese.      Several    of    these   are   in 
tbe   palaces   at   Genoa.     In  the  Louvre  there    is 
a  '  Moses  striking  the  Rock '  by  him  ;  and  in  the 
Ulfizi,  Florence,  a  '  Rape  of  the  Sabine  Women.' 
He  died  at  Genoa  in  1669. 

CASTE;LLUCCI,  Salvi,  was  born  at  Arezzo  in 
1608,  and  was  brought  up  in  the  school  of  Pietro 
da  Cortona  at  Rome,  and  became  a  successful 
imitator  of  the  facile  and  pleasing  style  of  that 
master.  Some  of  the  churches  in  Arezzo  possess 
268 


pamtmgs  by  this  artist  which  are  admired  for  their 
freedom  of  hand  and  their  agreeable  colouring, 
but  his  chief  employment  was  the  production  of 
easel  pictures  for  private  collections.  He  died  in 
1672.  His  son,  Pietro  Castelldcci,  painted  in 
his  style,  but  in  a  very  inferior  manner. 

CASTIGLIONE,  Francesco,  was  the  son  and 
pupil  of  Giovanni  Benedetto  Castiglione,  and 
painted  landscapes  with  figures  and  animals.  He 
was  most  successful  in  imitating  the  style  of  his 
father,  and  his  works  are  often  taken  to  be  by 
Benedetto  himself.  A  picture  of  'Two  Negroes 
and  a  Dwarf'  by  him  is  in  the  Dresden  Gallery. 
He  died  in  1716. 

CASTIGLIONE,  Giovanni  Benedetto,  (called 
II  Grechetto,  or  sometimes  II  Benedetto,)  was 
born  at  Genoa  in  1616.  He  studied  first  under  Gio- 
vanni Battista  Paggi,  and  then  entered  the  school 
of  Giovanni  Andrea  de'  Ferrari,  but  subsequently 
he  became  a  disciple  of  Van  Dyck  at  Genoa,  and 
after  the  death  of  that  master  visited  Florence, 
V^enice,  Rome,  and  Naples,  in  each  of  which  cities 
he  left  examples  of  his  skill  and  ability.  Although 
Benedetto  is  distinguiMied  throughout  Europe  by 
his  easel  pictures  of  landscapes  with  figures  and 
cattle,  yet  he  was  not  Lacompetent  to  reach  a 
higher  standard  in  art,  as  is  evident  from  his 
fine  picture  of  '  The  Nativity '  in  the  church  of 
San  Luca,  and  his  '  SS.  Mary  Magdalene  and  Catha- 
rine,' in  the  church  of  the  Madonna  di  Castello, 
alike  in  Genoa.  He  painted  historical  subjects, 
portraits,  landscapes,  and  animals.  In  his  his- 
torical works  he  appears  not  to  have  had  in  view 
the  ideal  beauty  which  is  found  in  the  great  masters 
of  the  Roman  school,  nor  to  have  attempted  the  ele- 
gance of  form,  the  purity  of  contour,  or  the  nobility 
of  expression,  which  form  the  essence  of  historical 
painting.  He  was,  however,  completely  successful 
in  the  style  which  he  seems  to  have  preferred — 
pastoral  subjects,  the  march  of  caravans,  and 
troops  of  animals.  His  pictures  of  that  descrip- 
tion are  distinguished  by  a  clear  and  vigorous 
colour,  a  lively  and  spirited  touch,  and  an  admirable 
effect  of  chiaroscuro.  His  figures  and  animals  are 
grouped  in  the  most  picturesque  manner,  and  his 
landscape  is  always  of  appropriate  and  pleasing 
scenery.  The  latter  part  of  his  life  was  passed  in 
the  service  of  the  Duke  of  Mantua,  who  accom- 
modated him  with  apartments  in  his  palace,  and 
treated  him  with  great  liberality  and  munificence, 
and  he  there  painted  some  of  his  finest  works. 
Benedetto  died  at  Mantua  in  1670.  The  following 
paintings  are  by  him  : 

Dresden.  Gallery.  Noah  going  into  the  Ark. 

Florence.  I'ffid.  His  own  Portrait. 

„  „  Noah  going  into  the  Ark, 

„  „  Animals. 

Genoa.      jS.  Luca.  The  Nativity. 

„       SS.Annuruiata. AAovaXioa  of  the  Mag^. 

„  Ducal  Pal.      Jacob's  Journey. 

„  Urigmle  Pal.  Abraham's  Journey. 

„  „  Entry  of  Animals  into  the  Ark. 

„  Surazzo  Pal.  Hagar  and  Ishmael. 

Madrid.  Gallery.  A  Concert. 

„  „  Elephants  in  an  Amphitheatre. 

„  „  Diogenes  and  a  man. 

„  „  Roman  Gladiators. 

Munich.  Finakothek.      A  Caravan. 
Paris.       Louvre.  Melchizedek  and  Abmham. 

,^  „  The    Dealers    driven    from    the 

Temple. 
„  „  Animals  and  Utensils. 

TetishTg.Hermitage.       Animals  in  a  Landscape. 
Vienna.  Gallery.  Noah  going  into  the  Ark. 

„  Noah  in  the  Ark. 


PAINTERS  AND  ENGRAVERS. 


As  an  engraver,  Benedetto  is  deserving  of  par- 
ticular notice.  He  has  left  us  about  seventy  plates, 
executed  with  all  the  taste  and  spirit  that  are  seen 
in  his  pictures.  They  are  etched,  and  sometimes 
a  little  assisted  by  the  graver,  masterly  in  their 
efEect  of  light  and  shade,  and  may  be  favourably 
compared  with  Rembrandt,  Delia  Bella,  and  other 
engravers  in  that  style.  The  following  are  his 
principal  prints,  which  are  frequently  marked  with 

the  cipher   ]^.,  G.B.C.,  or  BENEDto  CAS. : 

The  Genius  of  Benedetto  Oastiglione,  serving  as  a 
frontispiece  to  his  work. 

Portrait  of  Agostino  Mascardi. 

Portrait  of  Antonio  Pignolesale. 

Sixteen  small  Heads,  among  which  is  his  own  portrait. 

Six  large  Heads,  one  of  them  his  own  portrait. 

Two  plates  of  the  Heads  of  Men  and  Animals. 

Noah  and  his  Children  collecting  the  Animals. 

Noah  driving  the  Animals  into  the  Ark. 

The  Departure  of  Jacob. 

Kachel  hiding  her  Father's  Gods. 

Tobit  burying  the  Dead  ;  a  night-piece. 

A  similar  subject ;  in  chiaroscuro. 

The  Nativity,  with  Angels  adoring  the  Infant. 

The  Adoration  of  the  Shepherds. 

The  Angel  appearing  to  Joseph  in  his  Dream. 

The  Flight  mto  Egypt. 

The  Kesurrection  of  Lazarus. 

St.  Roch  in  profile,  behind  him  the  Head  of  his  Dog. 

The  Melancholy ;  a  print  so  called. 

The  Little  Melancholy. 

The  Finding  of  the  Bodies  of  St.  Peter  and  St.  Paul. 

Four  old  Men  visiting  the  Tombs  by  torch-light. 

Circe  in  search  of  the  Arms  of  Achilles. 

A  Man  with  some  pieces  of  Armour,  and  another  ex- 
amining a  Tomb. 

A  Man  pushing  a  Boat  in  which  are  some  Animals. 

Diogenes  with  his  Lantern. 

Pan  instructing  Apollo  to  play  on  his  Flute. 

Silenus  playing  on  a  Flute,  with  a  Shepherdess. 

A  Combat  of  Sea  Gods. 

Silenus  drunk,  with  three  Satyrs. 

A  Bacchanal,  with  a  Satyr  on  a  Pedestal. 

A  "Woman  beating  a  Boy. 

A  Menagerie  of  various  Fowls. 

A  Landscape.     1658. 

A  Landscape  ;  apparently  a  frieze. 

A  Shepherd  chiving  his  Flock. 

Two  Shepherds,  one  on  Horseback,  driving  their 
Flocks. 

A  Capuchin  discovering  the  Body  of  St.  Jerome. 

Eleven  plates  of  Vignettes,  &c. 

OASTIGLIONE,  Salvatoke,  was  the  brother  of 
Giovanni  Benedetto  Oastiglione,  by  whom  he  was 
instructed  in  the  art,  and  he  painted  landscapes  and 
pastoral  subjects  so  much  in  the  style  of  his  master 
that  the  most  sagacious  are  often  deceived.  We 
have  also  by  him  a  highly-finished  etching  repre- 
senting the  '  Resurrection  of  Lazarus,'  signed,  and 
dated  1645. 

CASTILLO.     See  Del  Oastillo. 

CASTREJON,  Antokio  de,  a  Spanish  painter, 
was  born  at  Madrid  in  1625.  He  was  a  scholar  of 
Francisco  Fernandez,  and  possessed  more  facility 
in  colouring  tlian  skill  in  drawing.  His  best  works 
are  of  small  dimensions,  but  he  sometimes  painted 
large  altar-pieces,  as  the  'Martyrdom  of  Santa 
Lucia,'  in  the  church  of  S:m  Felipe  el  Real  at  Madrid, 
which  perished  by  fire  in  1718.  He  likewise 
painted  figures  in  the  architectural  pieces  of  Roque 
Ponce  and  of  Josef  Garcia,  as  well  as  groups 
within  the  flower-garlands  of  Gabriel  de  La  Corte. 
He  died  at  Madrid  in  1690. 

CASTRO,  Antonio  Fernandez  de.  See  Fernan- 
dez DE  Castro. 

CASTRO,  GiACOMO  di,  according  to  Dominici, 
was  born  at  Sorrento  about  the  year  1597.     He 


was  a  pupil  of  Giovanni  Battista  Caracciolo,  but 
afterwards  received  the  instructions  of  Domeni- 
ohino  when  that  master  visited  Naples  to  decorate 
the  chapel  of  the  Treasury.  The  churches  of  Sor- 
rento possess  works  by  him,  one  having  a  picture 
of  'The  Marriage  of  the  Virgin'  that  is  highly 
esteemed.     He  died  in  1687. 

CASTRO,  Juan  Sanchez  de.  See  Sanchez  de 
Castho. 

CASTRO,  Manoel  de,  a  Portuguese  painter  and 
scholar  of  Claudio  Coelho  at  Madrid.  He  was  in 
1698  appointed  painter  to  Charles  II.  of  Spain,  in 
succession  to  BartoloraiS  Perez,  on  account  of  the 
ability  which  he  had  displayed  in  two  pictures 
which  he  had  painted  for  the  Convent  of  the  Trinity, 
'  Our  Lady  attended  by  Angelic  Choristers,'  and 
'  Our  Lady  redeeming  Captives,'  and  a  fresco  in  the 
Convent  of  Mercy.  According  to  Cean  Bermudez 
his  drawing  was  incorrect  and  his  compositions  of 
very  unequal  merit.  He  died  at  Madrid  in  1712, 
after  executing  works  for  the  churches  of  San  Juan 
de  Dios,  and  San  Felipe  Neri. 

CASTRO,  Pedro  de,  was  a  Spanish  artist  who  is 
known  as  an  admirable  painter  of  still-life.  His 
subjects  are  arranged  skilfully  and  coloured  truth- 
fully, great  force  being  added  to  them  by  his  know- 
ledge of  chiaroscuro.  Very  little  is  known  of  his 
life;  his  death  occurred  in  1663. 

OATALANI,  Antonio,  called  II  Siciliano,  was 
born  at  Messina  in  1560.  Lanzi  is  of  opinion  that 
he  studied  at  Rome,  and  formed  his  style  from  the 
works  of  Federigo  Barocci,  from  whence  he  ac- 
quired that  harmony  of  colour  and  softness  of 
effect  which  are  seen  in  his  works.  Such  is  his 
large  picture  of  '  The  Nativity '  in  the  church  of 
the  Capuchins  at  Gesso.     He  died  in  1630. 

CATALANI,  Antonio,  called  II  Romano,  was 
born  at  Bologna  about  the  year  1596,  and  was 
educated  under  Francesco  Albani.  He  was  a  close 
imitator  of  the  pleasing  style  of  his  master,  and 
painted  several  pictures  for  the  churches  at  Bo- 
logna, although  he  was  more  employed  on  easel 
pictures  for  the  private  collections-  In  the  church 
of  La  Madonna  del  Grado  are  four  pictures  of  the 
patron  Saints  of  the  city,  in  four  niches ;  and  in 
the  church  of  the  Gesu, '  St.  Peter  healing  the  Lame 
at  the  Gate  of  the  Temple.' 

GATE,  Hendrik  Geerit  ten.    See  Ten  Gate. 

CATEL,  Franz  Ludwio,  was  born  at  Berlin  in 
1778.  He  commenced  his  artistic  career  by  carv- 
ing in  wood,  and  then  designed  illustrations  for 
unimportant  works,  executing  in  1799  ten  plates 
for  Goethe's  'Hermann  and  Dorothea.'  He  next 
worked  in  Indian  ink  and  water-colours,  producing 
in  1806  a  large  piece  in  the  latter  medium,  repre- 
senting 'The  Death  of  Nicholas  of  Bernau,' which 
gained  him  admission  into  the  Berlin  Academy.  In 
1807  he  went  to  Paris,  where  he  studied  oil  painting. 
The  year  1812  found  him  at  Rome,  and  there  his 
education  as  an  artist  was  much  advanced  by  his 
connection  with  Koch,  Overbeck,  Schadow,  and 
Cornelius.  His  inclination  led  him  more  especially 
in  the  direction  of  painting  landscapes  with  archi- 
tectural details  or  prominent  figures  introduced. 
He  attached  himself  to  the  new  classic  school  of 
landscape,  labouring  especially  to  make  his  per- 
spective tell  efllectively,  and  to  gain  a  great  mastery 
over  light  and  shade.  His  ideas  gained  much  in 
point  of  breadth  from  a  visit  to  Sicily,  which  he 
made  in  company  with  Prince  Golitsuin  in  1818.  He 
settled  at  Macerata  in  1830,  but  returned  home  on 
a  visit  in  1840,  on  which  occasion  a  professorship 

269 


A  BIOGRAPHICAL  DICTIONAKY  OF 


was  bestowed  on  him  by  the  King  of  Prussia. 
Amongst  Catel's  landscape  subjects,  which  are 
marred  by  a  certain  touch  of  conventionality,  the 
best  perhaps  are  'The  Moonlight  View  of  the 
Colonnade  of  St.  Peter's,'  and  'The  Storm  on 
Mount  Etna.'  In  the  Berhn  Gallery  are  two  Kea- 
politan  views,  both  painted  in  1822,  and  in  the  New 
Pinakothek,  Munich,  are  eight  works  by  him,  views 
in  Italy.  His  works  may  be  seen  in  Munich  and 
Copenhagen.  He  died  at  Rome  in  1856. 
CATENA.  ViNCESZO.  See  Biagio. 
CATENARO,  JrAN  Bautista,  was  a  portrait- 
painter  and  engraver,  of  whom  nothing  more  is 
known  than  that  he  worked  in  London  and  in 
Madrid  at  the  beginning  of  the  18th  century.  He 
etched  the  portrait  of  Luca  Giordano,  and  from  his 
own  designs  '  A  Woman  with  Children,  seated  in  a 
landscape.'  and  'Apollo  surrounded  by  Cupids.' 
He  was  still  living  in  1720. 

CATESBY,  Mark,  was  born  in  England  in  1679. 
and  in  1712  visited  America,  where  he  remained 
seven  years,  studying  the  botany  of  the  country. 
He  then  returned  home,  but  made  a  second  visit 
to  the  colonies,  and  took  up  his  headquarters  at 
Cliarleston,  South  Carolina,  from  which  place  he 
made  excursions  into  the  interior,  through  Georgia 
and  Florida.  He  returned  to  England  in  1726, 
that  he  might  engrave  the  plates  for  his  work 
entitled  '  The  Natural  History  of  Carohna,  Florida, 
and  the  Bahama  Islands,'  illustrated  with  plates  of 
birds,  beasts,  fishes,  pl,ints,  &c.  He  was  elected  a 
Fellow  of  the  Royal  Society,  and  died  in  1749. 

CATHELIN,  Louis  Jacqdes,  a  French  engraver, 
born  in  Paris  in  1738,  was  one  of  the  best  pupils 
of  Le  Bas.  He  engraved  some  excellent  small 
portraits  of  historical  personages,  literary  men, 
and  artists  ;  and,  although  his  work  was  singu- 
lariy  unequal,  he  may  be  classed  with  Le  Mire, 
Ficqoet,  Gaucher,  and  other  engravers  of  the  18th 
century,  who  were  distinguished  by  the  skill  and 
delicacy  of  their  work.  He  was  received  into  the 
Academy  in  1777,  on  which  occasion  he  executed 
the  portrait  of  the  Abbe  Terraj-,  after  Roslin. 
Cathelin  died  in  Paris  in  1804.  Among  his  best 
■works  are  the  following : 

Louis  XT. ;  after  Tan  Loo.  Marie  Antoinette,  Qaeen 
of  France  ;'affer  Fredou.  The  same;  Countess  of 
Artois ;  Countess  of  Provpnce ;  after  Drouais. 
Moliere;  after  Jfignard.  Pierre  Xoel  Le  Cauchois; 
after  Mile,  de  yoireterre.  Jean  Paris  de  Montmartel ; 
after  it.  Q.  de  La  Tour.  Louis  Tocque,  painter; 
after  yattier.  Stanislaus,  King  of  Poland;  after 
Masse.  Joseph  Vernet,  marine  painter;  after  I'an 
Loo.  Joseph  II.,  Emperor  of  Germany ;  Maria 
Theresa,  Empress  of  Germany  ;  after  Ducreux.  La 
NouveUe  Affligeante;  after  P.  A.  'H'ille.  The  Death 
of  Lucretia;  after  Pelleiirim.  Latona  revenged; 
after  Lauri ;  begim  by  Balechou,  and  finished  by 
Cathelin.  Erigone;  after  Monsiau.  A  'Waterfall, 
with  Fishermen ;  The  Four  Hours  of  the  Day ;  after 
J.  Vernet. 

CATHELINAUX.  Christophe,  a  French  painter 
of  dogs  and  other  animals,  born  at  Warcq  (Meuse) 
in  1819,  was  a  pupil  of  Drolling,  and  entered  the 
ficole  des  Beaux  Arts  in  1839.  He  exhibited  at 
the  Salon  from  1857  onwards.     He  died  in  1883. 

CATHELINEAU,  Gaijtan,  a  French  painter  of 
portraits  and  of  historical  and  genre  subjects,  was 
born  at  Montriehard  (Loir-et-Cher)  in  1787.  He 
was  a  pupil  of  David,  and  professor  of  drawing  at 
the  Lyceum  of  Tours  from  1835  to  1858.  He  died 
at  Tours  in  1859,  beaueathing  to  the  Museum  of 
270 


tnat  city  fifty  pictures  by  different  masters,  as  well 
as  eleven  by  his  own  hand. 

CATI,  Pasquale,  a  native  of  Jesi,  according  to 
Baglione,  flourished  at  Rome  during  the  pontificates 
of  Gregory  XIII.,  Sixtus  V. ,  and  Clement  VIII.  He 
was  employed  in  the  Loggie  of  the  Vatican,  where 
he  painted  '  The  Passion  of  Christ,'  as  also  some 
friezes  in  the  Sala  Clementina.  The  chapel  of 
Cardinal  Altemps,  in  Santa  Maria  in  Trastevere,  is 
decorated  by  Cati  with  subjects  taken  from  the 
'  Life  of  the  Virgin.'  He  died  at  Rome  during  the 
ponrificate  of  Paul  V.  (1605—1621),  in  his  70th  year. 

CATLIN,  George,  a  designer  and  painter,  was 
born  in  1794  in  Wyoming  Valley,  Pennsylvania. 
After  first  studying  law  he  turned  his  attention  to 
painting,  and  is  well  known  for  his  depicting  of 
the  North  American  Indians.  In  1832  he  com- 
menced a  prolonged  course  of  visits  to  their  native 
haunts,  and  after  intercourse  with  no  less  than 
forty-eight  different  tribes,  he  published  a  work  in 
1851,  containing  portraits  of  200  chiefs  and  war- 
riors, together  with  miscellaneous  sketches.  He 
died  at  Jersey  City  in  1872. 

CATS,  Jacob,  an  excellent  draughtsman,  who 
also  etched  and  painted,  was  bom  at  Altona 
in  1741.  He  studied  under  Abraham  Starre  and 
Pieter  Louw.  He  was  celebrated  for  drawing  land- 
scapes with  animal  accessories,  his  works  having  a 
distinct  originality,  and  being  marked  by  a  poetical 
rendering  of  the  features  of  nature,  as  well  as  by 
careful  manipulation.  They  are  often  suggestive 
of  Adriaan  van  de  Velde  and  of  Berchem,  and  are 
highly  valued.  He  also  painted  some  pictures  on 
a  smaller  scale,  and  has  left  us  some  etchings. 
He  died  at  Amsterdam  in  1799.  Amongst  his 
plates  may  be  mentioned  : 

A  View  of  Amsterdam.     Another;   after   W.   Writs. 
Another;  after  J. de  Beyer.  Sis  plates  of  Landscapes. 

CATTAMARA,  Paolcccio,  was  an  artist  of 
Naples,  who  flourished  about  1718,  and  painted 
fruit,  birds,  medals,  &c.,  with  marvellous  resem- 
blance to  nature. 

CATTANEO,  Sakto,  called  Santiso,  an  Italian 
painter,  was  bom  at  Salo  in  1739.  He  at  first 
practised  wood-engraving,  but  afterwards  studied 
painting  under  Antonio  Dusi  of  Brescia  and  Fran- 
cesco Monti  of  Bologna.  He  settled  at  Brescia  in 
1773,  and  in  1810  became  professor  of  drawing  in 
that  city,  where  he  died  in  1819.  Many  of  the 
churches  and  residences  of  Brescia  and  its  neigh- 
bourhood are  rich  in  his  works. 

CATTANIO,  Costaxza,  was  bom  at  Ferrara  in 
1602.  He  was  a  pupil  of  Ippolito  Scarsellino,  but 
afterwards  frequented  the  school  of  Guido  Reni  at 
Bologna.  This  artist  was  of  so  quarrelsome  and 
turbulent  a  disposition  that  he  passed  the  greater 
portion  of  his  life  in  exile  or  in  disgrace.  This 
turbulence  of  his  nature  is  evinced  in  many  of  his 
works,  which  generally  represented  soldiers  and 
banditti,  painted  in  a  menacing  tone  of  colour. 
That  he  could  divest  himself  of  this  peculiarity  is 
evident  from  his  pictures  of  '  The  Flagellation ' 
and  the  '  Ecce  Homo.'  in  the  church  of  San  Giorgio 
at  Ferrara.  His  'Christ  praying  on  the  Mount' 
in  San  Benedetto,  and  his  'Annunciation'  in  San 
Spirito,  Ferrara,  have  something  of  the  suavity  of 
Guido.     He  died  in  1665. 

CATTAPANI,  Luca,  was  bom  at  Cremona  about 
the  year  1570,  and  was  instructed  in  the  school  of 
the  Campi.  Many  of  the  works  of  his  masters 
were  copied  by  him,  with  a  precision  that  might 


PAINTERS  AND  ENGRAVEES. 


deceive  the  most  experienced.  Of  his  own  com- 
positions, the  most  meritorious  was  his  picture  of 
'The  Decollation  of  St.  John,'  in  the  church  of  San 
Donato  at  Cremona.  One  of  his  pictures  is  signed 
Luca  Catapan,  1597. 

CATTERMOLE,  Charles,  a  nephew  of  George 
Cattermole,  exhibited  first  in  the  year  1858.  Most 
of  his  pictures  appeared  at  the  Royal  Institute  of 
Painters  in  Water-Colours.  of  which  he  became  an 
associate  in  1864,  and  a  full  member  in  1870.  He 
was  also  a  member  of  the  Society  of  British  Artists, 
and  a  frequent  contributor  to  its  exhibitions.  He 
painted  figure  subjects  both  in  oil  and  water- 
colours,  and,  following  the  example  of  his  uncle, 
drew  a  few  illustrations  for  books.  He  died  in 
1900. 

CATTERMOLE,  George,  a  water-colour  painter, 
was  born  at  the  village  of  Dickleborough,  :iear 
Diss,  in  Norfolk,  in  1800.  At  an  early  age  his 
attention  was  directed  to  the  delineation  and 
study  of  the  architectural  antiquities  which  par- 
ticularly abound  in  his  native  county  ;  and 
when  only  sixteen  years  old,  his  name  appeared 
as  one  of  the  illustrators  of  Britten's  '  English 
Cathedrals.'  These  pursuits  determined,  as  it  were, 
the  scene  upon  which  his  imagination  was  after- 
wards to  work  ;  and  he  soon  began  to  people  the 
quaint  remains  of  feudal  times  with  incidents  of 
history  or  romantic  adventure  appropriate  to  each. 
In  1830  he  travelled  into  Scotland  for  the  purpose 
of  making  sketches  of  localities  mentioned  in  the 
writings  of  Scott ;  many  of  these  have  been  pub- 
lished in  various  forms,  and  a  large  number  of  them 
are  widely  known  as  illustrations  of  the  '  Waverley 
Novels.'  He  illustrated  the  '  Historical  Annual,' 
devoted  to  the  history  of  the  civil  war,  written  by 
his  brother  the  Rev.  R.  Cattermole ;  and  contri- 
buted illustrations  to  '  Barnaby  Rudge,'  and  other 
of  Dickens's  novels.  Cattermole  was  from  1833  to 
1850,  in  which  year  he  withdrew  his  name  from  the 
roll  of  the  institution,  a  member  of  the  Society  of 
Painters  in  Water-Colours,  and  during  that  period 
was  a  constant  exhibitor.  He  died  in  1868,  at 
Clapham  Common.  He  was  a  member  of  the 
Royal  Academy  of  Amsterdam,  and  of  the  Belgian 
Society  of  Water-Colour  Painters. 

The  following  are  some  of  his  principal  works : 

At  South  Kensington — 

The  Silent  Warning.     1837. 

Hamilton  of  Bothwellhaugh  preparing  to  shoot  the 
Regent  Murray.     1843. 

Lady  Macbeth.     1850. 

Cellini  and  the  Robbers. 

Macbeth  and  the  Murderers. 

The  Armourer's  Tale. 
Interior  with  Figures  and  Armour.     {In  the  Edinburgh 

National  Gallery.) 
Sir  Walter  Raleigh  witnessing  the  execution  of  the  Earl 

of  Essex  in  the  Tower.     1839. 
Old  English  Hospitality.     1839. 
The  Castle  Chapel.     1842. 
After  the  second  Battle  of  Newbury.     1843. 
Benvenuto  Cellini  defending  the  Castle  of  Sant'  Angelo. 

1845. 
The  Unwelcome  Return.     1846.     (A  forest-scene.) 
A   Terrible    Secret.     1862.     (In   oil;    the  only  picture 

exhibited  at  the  Royal  Academy.) 

CATTERMOLE,  Rev.  Richard,  an  elder  brother 
of  George  Cattermole,  born  in  1795,  was  a  water- 
colour  painter,  and  exhibited  drawings  of  interiors 
at  the  Water-Colour  Society  from  1814  to  1818. 
He  afterwards  gave  up  art,  and  entering  the 
Church,  became  Vicar  of  Little  Marlow,  Bucks. 
He  died  at  Boulogne  in  1858. 


CATTINI,  Giovanni,  an  engraver,  was  bom  at 
Venice  in  1726.  He  was  a  pupil  of  Faldoni,  and 
executed  plates  of  some  antique  statues  which  are 
at  Venice,  and  a  set  of  fourteen  large  heads,  after 
Piazetta.  He  also  engraved  some  portraits  of  Vene- 
tian nobles,  and  one  of  Francesco  Zuccarelli,  the 
artist ;  as  well  as  some  of  the  statues  in  the 
Giustiniani  Gallery,  Venice,  in  the  manner  of 
Claude  Mellan,  with  a  single  stroke. 

CATTON,  Charles,  was  born  at  Norwich  in 
1728,  and  apprenticed  to  a  coach-painter  in  London. 
He  afterwards  became  a  member  of  the  St.  Mar- 
tin's Lane  Academy,  and  in  1784  served  the  office 
of  Master  of  the  Company  of  Painter-Stainers,  the 
fraternity  of  English  artists  in  olden  time.  He 
was  the  first  herald-painter  who  designed  the  sup- 
porters to  coats  of  arms  with  any  resemblance  to 
nature,  which  probably  obtained  for  him  the  honour 
of  being  appointed  coach-painter  to  his  Majesty, 
George  III.,  who  also  nominated  him  one  of  the 
foundation  members  of  the  Royal  Academy  in 
1768.  He  exhibited  at  the  Academy  chiefly  land- 
scapes, and  occasionally  composition  pictures  and 
animals.  He  died  in  London  in  1798.  In  St. 
Peter  Mancroft,  Norwich,  there  is  a  picture  by 
him  of  '  The  Angel  delivering  St.  Peter.' 

CATTON,  Charles,  the  son  of  the  Royal  Acade- 
mician of  the  same  name,  was  born  in  London  in 
1756,  and  studied  in  the  Academy  Schools.  His 
first  efforts  were  devoted  to  architectural  subjects. 
In  1788  he  published  a  series  of  drawings  of  animal 
life  engraved  by  himself,  and  shortly  afterwards,  in 
conjunction  with  Edward  Burney,  he  illustrated  an 
edition  of  Gay's  '  Fables.'  In  1804  he  emigrated 
to  America,  where  he  died  in  1819.  In  the  South 
Kensington  Museum  there  are  four  small  drawings 
of  animals  by  him.  .. 

CAUCIG,  Franz,  an  Austrian  historical  painter, 
was  born  at  Gorz  in  1762.  He  studied  the  first 
principles  of  art  at  Vienna,  and  went,  aided  by  a 
grant,  in  1781,  to  Bologna  and  to  Rome,  where 
he  spent  seven  years.  In  1791,  he  was  enabled 
in  the  same  way  to  visit  Mantua,  and  to  reside  for 
upwards  of  five  years  at  Venice.  He  returned  to 
Vienna  in  1797,  and  in  1799  became  professor  of 
historical  painting  at  the  Vienna  Academy,  and,  in 
1820,  Director  of  the  School  of  Art,  which  office 
he  held  until  his  death.  Specimens  of  his  paint- 
ings, which  were  numerous,  may  be  seen  at  Prague, 
and  in  the  Belvedere  and  other  galleries  at  Vienna. 
He  was  clever  as  a  draughtsman,  and  has  left  us 
upwards  of  2000  historical  designs.  His  colour- 
ing, however,  was  feeble  and  indifEerent.  He  died 
at  Vienna  in  1828. 

CAUKERCKEN,  Cornelis  van,  was  a  Flemish 
engraver  and  printseller,  born  at  Antwerp  in  1626. 
He  engraved  several  plates  of  portraits,  and  other 
subjects,  from  the  works  of  Rubens,  Van  Dyck, 
and  other  Flemish  painters.  They  are  executed 
with  the  graver  in  a  stiff  and  laboured  style,  but 
are  not  without  merit.  The  following  are  his  best 
prints : 

portraits. 

Peter  Snayers,  painter  of  battles ;  after  D.  van  Heil. 
Tobias  Verhaect,  painter ;  after  Otto  van  Veen, 
Robert  van  Hoeck,  painter  ;  after  G.  Cuquea. 
Peeter  Meert,  portrait  painter  ;  after  C.  Caukercken, 
Charles  van  den  Bosch,  Bishop  of  Bruges. 
Charles  II.,  King  of  England ;  the  figure  by  Caukercken, 

the  rest  by  Hollar. 

VARIOUS   SHEJECTS. 
The  Dead    Christ    in  the  lap  of   the  Virgin;    after 

Annibale  Carracci. 

271 


A  BIOGRAPHICAL  DICTIONARY  OF 


The  Dead  Christ,  with  the  Virgin,  Magdalene,  and  St. 

John ;  after  Van  Dyck. 
The  Descent  of  the  Holy  Ghost ;  after  the  same. 
Charity,  with  three  Children ;  after  the  same. 
Eoman  Charity ;  after  iubens. 
St.  Anne  teaching" the  Virgin;  after  the  same. 
The  Martyrdom  of  St.  Lievin ;  after  the  same. 

The  best  impressions  are  those  before  the  name  of 
De  Hollander. 
A  'Woman  suckling  an  Infant ;  after  A.  Diejxnbeeek. 
Boors  in  a  Tavern ;  after  J.  Molenaer. 

CAULA,  SiGlSMONDO,  -was  bom  at  Modena  in 
1637.  He  -was  the  pupil  of  Jean  Boulanger,  but 
finislied  his  studies  at  Venice,  from  the  works  of 
Titian  and  Tintoretto.  Besides  his  altar-pieces, 
he  painted  cabinet  pictures  for  private  collections. 
His  best  production  was  his  large  picture  of  '  St. 
Charles  Borromeo  assisting  the  plague-stricken 
people  of  Modena,'  which  was  painted,  with  great 
vigour  and  expression,  for  the  church  of  San  Carlo. 
It  is  now  in  the  Este  Gallery  at  Modena,  which 
also  possesses  a  figure  of  '  St.  Ambrose '  by  him.  In 
the  latter  portion  of  his  life  he  became  more  languid 
in  his  colouring  and  execution.  He  painted  as  late 
as  1694. 

CAULITZ,  Peter,  a  painter  of  animals  and 
landscapes,  was  born  at  Berlin  about  1650,  and 
studied  art  in  Italy.  The  Berlin  Museum  has  by 
him  a  well-painted  scene  representing  a  poultry- 
yard.  Other  examples  may  be  seen  at  Potsdam 
and  at  Brunswick.  He  was  Court-Painter  when 
be  died  at  Berlin  in  1719. 

CAUSE,  Hendrik,  was  a  Flemish  engraver,  who 
flourished  about  the  year  1690.  We  have  some 
portraits  by  him,  among  which  is  that  of  Cardinal 
Ferdinando  d'Adda.  He  also  engraved  some  plates 
of  buildings,  &c.,  which  possess  considerable  merit. 

CAUWER.     See  De  Cacwer. 

CAVAGNA,  Francesco,  called  Cavagsdolo, 
was  the  son  of  Giovanni  Paolo  Cavagna,  and 
flourished  about  the  year  1625.  He  painted  his- 
torj'  in  the  style  of  his  father,  but  never  rose  above 
mediocrity.  His  best  work  is  in  the  church  of  the 
Padri  Zoccolanti  del  Romacolo,  representing  the 
Virgin  and  Infant  Jesus  in  the  clouds,  with  St. 
Louis,  St.  Clara,  and  St.  Catharine.  He  died  yoimg 
tf  the  plague  at  Bergamo  in  1630. 

CAVAGNA,  Giovanni  Paolo,  was  bom  at 
Borgo  di  San  Leonardo,  in  the  Bergamese,  in  1556. 
His  inclination  for  painting  led  him  to  Venice  at 
the  period  when  Titian  was  in  the  zenith  of  his 
fame,  and,  according  to  Tassi,  he  had  the  advan- 
tage of  studying  under  that  great  artist.  On  his 
return  to  Bergamo  he  finished  bis  studies  under 
Giovanni  Battista  Moroni,  and  acquired  from  him 
an  admirable  impasto  of  colour,  and  a  firm  pencil. 
He  appears  to  have  adopted  the  style  of  Paolo 
Veronese,  and  his  best  works,  both  in  oil  and 
fresco,  strongly  resemble  those  of  that  painter. 
He  particularly  excelled  in  painting  old  men  and 
children,  as  may  be  seen  in  his  fresco  of  '  The 
Assumption  of  the  Virgin,'  with  a  glory  of  angels, 
and  the  apostles  beneath,  in  the  choir  of  the  church 
of  Santa  Maria  Maggiore,  Venice.  The  same 
church  possesses  his  oil  paintings  of  'The 
Nativity,'  and  of  '  Queen  Esther  before  Ahasuerus.' 
In  the  church  of  Santa  Lucia  is  his  famed  '  Cruci- 
fixion.'   He  died  at  Bergamo  in  1627. 

CAVAGNUOLO.    See  Cavagna,  Francesco. 

CAVALt  ABO.     See  Baroni  Cavalcabo. 

CAVALIEKI.     See  Cavalleriis. 

CAVALLERI,  Ferdinando,  who  was  a  painter 

272 


of  history  and  portraits,  was  bom  at  Turin  in  1794, 
and  studied  art  at  Rome.  His  paintings  are  justly 
esteemed  for  their  fidelity  and  truth.  He  was  in 
later  life  a  professor  at  the  Academy  of  St.  Luke. 
He  died  in  1867.     His  best  works  are : 

Beatrice  Cenci  ascending  the  Scafiold. 

The  Burning  of  Old  St.  Paul's. 

The  Death  of  Leonardo  da  Vinci. 

Prince  Eugene,  after  the  Battle  of  Peterwardein. 

His  own  Portrait  {in  the  rffi:i,  Florence). 

CAVALLERIIS,  Giovanni  Battista  de,  (or 
Cavalieri,)  an  Italian  engraver,  was  born  at 
Lagherino  in  1525,  and  died  at  Rome  in  1597.  His 
style  of  engraving  resembles  that  of  .Sneas  Vico, 
although  inferior  to  it.  Many  of  his  plates  are 
copies  after  the  great  Italian  masters ;  thej'  are 
etched,  and  finished  with  the  graver.  He  was 
very  laborious,  and  his  plates  number  nearly  380. 
The  following  are  those  most  worthy  of  notice, 

some  of  them  being  marked  with  the  cipher  (jj. 

The  Frontispiece,  and  Heads  of  the  Popes,  for  the  Vite 

de^  Potitijici, 
Thirty-three  plates  of  the  Euins  of  Rome ;  after  Dos- 

sio.     1579. 
A  series  of  plates  entitled  Beait  ApoUinaris  Martyrit 

primi  Eavennatum  episcopi  Res  gesta ;  after  N.  Cir- 

cignani.     15S6. 
Ecclesise  Anglicanse  Trophae ;  after  the  same. 
Christ  among  the  Doctors;  supposed  to  be  from  hit  oum 

design. 
The  Last  Supper ;  the  same. 
The  Image  of  the  Virgin  of  Loreto.    1566. 
The  House  of  Loreto,  and  the  Miracles  wrought  there. 

1569. 
The  Jubilee  in  1585,  with  a  view  of  the  old  Church  of 

St.  Peter's. 
A  Sea-fight  against  the  Turks;  for  Chacon's  Historia 

utriusque  Beili  Dacici,  1576. 
The  Virgin,  called  '  Le  Silence ' ;  after  Michelanyelo. 
The  Dead  Christ  in  the  lap  of  the  Virgin ;  after  the  same. 
The  Conversion  of  St.  Paul ;  after  the  same. 
The  Martyrdom  of  St.  Peter ;  after  the  same. 
The  Animals  coming  o>it  of  the  Ark ;  after  Raphael. 
Moses  showing  the  Tables  ut  the  Law ;  after  the  same. 
The  Miracle  of  the  Loaves ;  after  the  same. 
Christ  appearing  to  St.  Peter ;  after  the  same. 
The  Battle  of  Constantine  with  Maxentius ;  after  the 

same. 
The  Murder  of  the  Innocents ;  after  the  same. 
Susannah  and  the  Elders ;  after  Titian.     15S6. 
St.  John  preaching  in  the  'Wilderness:  after  A,  del 

Sarto. 
The  Descent  from  the  Cross ;  after  Daniele  da  Volterra. 
The   Virgin   and  Infant  in   the  Clouds;   after  Livio 

Agresti. 
The 'Elevation  of  the  Cross;  after  the  same. 

CAVALLI,  ViTALE,  called  Vitale  da  Bologna 
and  VlTALE  DELLE  Madonne,  was  a  painter  of  the 
13th  and  l-4th  centuries,  who  was  a  pupil  of  Franco 
Bolognese.  As  one  of  his  appellations  denotes,  he 
was  especially  noted  for  the  painting  of  Madonnas, 
one  of  which  (1820)  is  in  the  Pinacoteca  of  Bologna, 
another  in  San  Giovanni  in  Monte  of  the  same 
city,  and  a  third  (1345)  in  the  Vatican  ;  the  last 
has  been  engraved  by  DAgincourt.  An  'Annun- 
ciation '  and  '  The  Manger '  are  in  Santa  ApoUonia 
at  Mazzaratta. 

CAVALLINI,  PiETRO,  was  a  painter  of  the  14th 
century,  who  studied  mosaic  painting  in  Rome  under 
the  Cosmati ;  but  his  works  are  executed  in  the 
Florentine  stjle.  He  was  employed  upon  the 
mosaics  which  Giotto  executed  in  the  Basilica  of 
St.  Peter  at  Rome,  and  is  said  to  have  also  worked 
from  that  master's  designs  in  San  Paolo  fuori  le 
Mura  about  the  year  1305,  and  to  have  restored  the 


PAINTERS  AND  ENGRAVERS. 


lost  mosaics  in  San  Crisogono  in  the  same  city. 
Several  paintings  at  Florence  are  attributed  to  him ; 
they  are  in  the  churches  of  SS.  Annunziata,  Santa 
Lucia,  and  San  Marco.     He  died  about  1364. 

CAVALLINO,  Bernardo,  an  Italian  painter, 
born  at  Naples  in  1622,  was  instructed  by  Massimo 
Stanzioni,  and  studied  the  works  of  Andrea  Vac- 
caro,  Rubens,  and  Poussin.  He  died  in  1658.  His 
paintings  are  small  and  of  a  tender  character. 
Two  of  them  are  preserved  at  Naples — an  '  Im- 
maculate Virgin'  at  the  church  of  San  Lorenzo 
Maggiore.and  a  'St.  Cecilia'  at  that  of  San  Gio- 
vanni di  Porta  Alba. 

CAVALLUCCI,  Antonio,  was  born  at  Ser- 
moneta  in  1752,  and  was  perhaps  the  most  admired 
painter  of  the  modem  Roman  school  after  A.  R. 
Mengs  and  Pompeo  Batoni.  The  Duke  of  Gaetani 
sent  him,  at  his  own  expense,  to  Rome,  where  he 
studied  under  Pozzi  and  Lapis ;  he  afterwards 
went  to  Parma,  and  studied  the  works  of  Cor- 
reggio.  He  painted  several  important  works  for 
the  Duchess  of  Gaetani,  amongst  them  '  Christ 
appearing  to  St.  Theresa,'  '  Anatolio  Gaetani  con- 
quering the  Saracens,'  and  the  portraits  of  the 
Pope  and  of  Prince  Rospigliosi.  Other  paintings 
by  him  may  be  found  at  Catania,  Rieti,  and 
Rovigo ;  at  Pisa,  where  is  his  '  St.  Bona  distribut- 
ing his  Wealth  to  the  Poor,  and  taking  the  Re- 
ligious Garb  ; '  at  the  Palazzo  Cesarini  at  Rome, 
his  '  Venus  with  Ascanius  ; '  and  in  the  Basilica  of 
Loreto,  his  '  St.  Francis  of  Paola.'  He  died  at 
Rome  in  1795. 

CAVALORI.     See  Salincorno. 

CAVARAZZI,  Baetolommeo,  also  called  Cres- 
CENZI,  was  born  at  Viterbo  about  the  year  1590, 
and  was  a  pupil  of  Cavaliere  Roncalli,  called 
Pomarancio.  He  had  made  great  progress  under 
that  master  at  Rome,  when  he  was  taken  into  the 
protection  of  the  noble  family  of  the  Crescenzi, 
whence  his  acquired  name.  He  painted  many 
pictures  for  his  patron,  and  was  also  employed  at 
several  of  the  public  edifices  of  Rome,  where  he 
died  in  the  prime  of  life  in  1625.  Of  his  paintings 
we  note  : 
Rome.    S.  A  ndrea  della  \  St.  Charles  kneeling,  with  a  choir 

„  Valle.         )      of  angels. 

„         S.  Ursula.  The  Legend  of  that  Saint. 

„         S.  A  nna  Conv.      Virgin  and  Child,  with  St.  Anne. 

CAVAZOLA.     See  Morando. 

GAVAZZA,  Giovanni  Battista,  was  a  painter 
and  engraver,  who  was  born  at  Bologna  about  the 
year  1620.  He  studied  under  Cavedone  and  Guido, 
and  painted  some  pictures  for  public  buildings  at 
Bologna.  The  church  of  the  Njmaiata.has  frescoes 
of  saints  painted  by  him.  He  engraved  the  fol- 
lowing plates  from  his  own  designs : 

The  Crucifixion. 

The  Resurrection. 

The  Death  of  St.  Joseph. 

The  Assumption  of  the  Virgin. 

CAVAZZA,  Pier  Francesco,  was  bom  at 
Bologna  in  1675,  and  was  a  pupil  of  Domenico 
Viani.  He  painted  historical  pictures,  and  was 
engaged  at  several  of  the  churches  of  his  native 
city.  He  died  in  1733.  We  notice  of  his  works : 
Bologna.  »SS  Sehastiano  )  The  Conception,  and  SS.  Sebas- 
and  Rocco.  j  tian  and  Eoch. 
„  /S.  Colombano.      SS.   Nicholas    and    John    the 

Baptist. 
„  5.  Giuseppe.       The  Nativity. 

CAVAZZOLA.     See  Morando. 
CAVAZZONI.  Francesco,  was  born  at  Bologna 
T 


in  1559,  and  is  known  to  have  been  living  up  to 
1612.  He  was  first  the  pupil  of  Bartolommeo 
Passarotti,  but  afterwards  attended  the  school  of 
Lodovico  Carracci.  Less  distinguished  than  Guido 
and  Domenichino,  he  nevertheless  held  a  respectable 
rank  amongst  the  followers  of  that  great  school. 
His  principal  works  are  : 

Bologna.  S.  Maddalena  di  >  Magdalene  washing  the  feet  of 
Via  S.  Donato.  J      Christ. 
„  S.  Cecilia.  The  Crucifixion. 

*  %^J^ff '"  ]  St.  John  the  Baptist  preaching. 

CAVAZZONI  ZANOTTI,  Giovanni  Pietro, 
though  of  Bolognese  origin,  was  born  in  Paris 
in  1674.  He  was  sent  when  young  to  Bologna, 
where  he  became  a  scholar  of  Lorenzo  Pasinelli. 
Under  that  master  he  acquired  an  agreeable  tone 
of  colouring,  a  mellow  pencil,  and  an  intelligent 
acquaintance  with  the  principles  of  chiaroscuro. 
He  painted  several  altar-pieces  for  the  churches 
at  Bologna,  of  which  the  most  esteemed  are 
the  '  Incredulity  of  St.  Thomas,'  in  the  church 
of  San  Tommaso  dal  Mercato ;  '  The  Resurrec- 
tion,' in  San  Pietro  ,  '  The  Nativity,'  in  La  PuritA  , 
and  a  large  picture  representing  the  '  Ambassadors 
from  Rome  swearing  fidelity  to  the  Bolognese,' 
in  the  Palazzo  Pubblico.  He  travelled  extensively 
in  France,  Germany,  and  Italy,  and  resided  during 
a  great  part  of  his  life  at  Cortona,  where  he  also 
distinguished  himself  by  several  pictures  which  he 
painted  for  the  churches,  particularly  '  Christ  ap- 
pearing to  the  Magdalene,'  'Christ  bearing  His 
Cross,'  and  'The  Murder  of  the  Innocents.' 

Zanotti  was  a  laborious  and  intelligent  writer  on 
art,  the  most  considerable  of  his  numerous  publi- 
cations being  his  '  Storia  dell'  Accademia  Clementina 
di  Bologna,'  publisjied  in  two  volumes,  quarto,  in 
1739.     He  died  at  Cortona  in  1765. 

CAVE,  F.  MoRELLAN  DE  LA.     See  Morellan. 

CAVE,  Henry,  an  architectural  draughtsman, 
born  in  1780,  is  best  known  by  his  '  Antiquities  of 
York,'  in  forty  plates,  drawn  and  etched  by  him- 
self, and  published  in  1813.  He  died  at  York  in 
1836. 

CAVE,  James,  an  architectural  draughtsman, 
illustrated  Milner's  '  History  of  Winchester,'  pub- 
lished in  1809.  He  occasionally  exhibited  drawings 
at  the  Royal  Academy. 

CAVEDONE,  Jacopo,  an  eminent  but  unfortun- 
ate painter,  was  born  at  Sassuolo  in  the  Modenese, 
in  1577.  Driven,  when  a  boy,  from  his  home  by 
the  severity  of  his  father,  he  sought  a  subsistence 
by  becoming  a  page  to  a  nobleman,  a  great  lover 
of  art,  who  possessed  a  valuable  collection  of  pic- 
tures. The  young  Cavedone  had  employed  him- 
self in  his  moments  of  leisure  in  copying  some 
of  them  with  a  pen,  and  the  copies  appeared  to  his 
master  such  extraordinary  efforts  of  untaught 
genius,  that  he  showed  them  to  Annibale  Carracci, 
and  introduced  the  young  artist  to  him,  who 
encouraged  the  youth  to  persevere,  gave  him 
some  of  his  drawings  to  copy,  and  soon  after- 
wards received  him  into  his  school.  The  pro- 
gress of  Cavedone  under  such  an  instructor  was 
surprising.  He  also  studied  under  Passarotti,  and 
then  went  to  Venice,  where  he  applied  himself  to 
study  the  works  of  Titian,  and  acquired  that 
admirable  style  of  colouring  in  which  he  may  be 
said  to  have  surpassed  every  other  painter  of  his 
school.  On  his  return  to  Bologna,  he  commenced 
the  display  of  his  talents  with  such  eclat,  that  some 
of  the  pictures  he  painted  for  the  churches  were 

A<tS 


A  BIOGRAPHICAL  DICTIONARY  OF 


esteemed  almost  equal  to  the  works  of  Arnibale 
Carracci.  At  this  time  his  design  was  elegant 
and  correct,  and  his  colouring  so  tender,  and  at  the 
same  time  so  vigorous,  that  it  is  recorded  by  Lanzi, 
that  Albani,  on  being  asked  by  a  stranger  if  there 
were  any  pictures  by  Titian  at  Bologna,  replied, 
"  No,  but  there  are  two  by  Cavedone  in  San  Paolo, 
which  amply  supply  the  want  of  them,  and  are  even 
painted  with  more  spirit."  In  his  fresco  works  he 
was  singularly  harmonious,  using  tints  with  Lttle 
variety,  but  so  admirably  appropriated  to  that 
style  of  painting,  that  Guido  adopted  him  as  a 
model.  Cavedone,  who  in  the  prime  of  his  career 
promised  to  be  the  honour  and  support  of  art 
in  his  country,  was  reduced  in  later  life  to  the 
miserable  necessity  of  painting  ex  voti  for  sub- 
sistence. Superstition  had  charged  his  wife  with 
witchcraft,  and  that  absurd  accusation  plunged 
him  into  the  deepest  afiBiction.  The  loss  of  an 
only  son,  who  had  sho\vn  the  most  marked  and 
promising  disposition  for  art,  filled  the  cup  of 
his  affliction.  He  sank  into  a  childish  and  stupid 
despondency,  and  died  in  wretchedness  and  want, 
in  Bologna,  in  1660,  aged  83.  His  principal 
works  are : 

Bologna.     Pinacoteca.    Virgin  adored  by  SS.  Aib  and 

Petronius.     1614. 
„  „  The  Martyrdom  of  St.  Peter  of 

Verona. 
The  Nativity. 
The  Adoration  of  the  Hagi  {his 

masterpiece). 
Holy  Family,  with  SS.  John  and 

Francis. 
The  Four  Doctors  of  the  Church. 
.  St.  Ceciha. 
The  Martyrdom  of  SS.  Tiburtius 

and  Valerian. 
Death  of  St.  Benedict. 
The  Virgin  and  Child,  with  three 

Saints. 
His  own  Portrait. 
Adoration  of  the  Shepherds. 
Magdalen. 

St.  Stephen  borne  up  to  Heaven. 
Pieta  (<tro). 
St.  Cecilia. 
St.  Sebastian. 


San  Paolo. 


,        Ospitale  di  S.  \ 
Francesco.  / 
,         5.  Salvatore. 

,  S.  Michele  in  Bosco. 


„    "S.  Maria  delle  \ 
Laudi.        j 
Florence,      f^re. 
Madrid.         Gallery. 
Modena.       EsU  Gall. 

Munich.      Pinakothek. 
Paris.  Lcruvre. 

Vienna.       Belvedere. 


CAVENAGHI,  Emilio,  an  Italian  painter  of 
landscapes  and  genre  pieces,  was  born  in  1852. 
'La  Stanza  Poldi,'  and  'The  Music  Amateur,'  are 
two  of  his  best  performances.  He  also  designed 
many  woodcuts  for  book-illustrations.  He  died  at 
Milan  in  1876. 

CAWSE,  John,  who  was  bom  about  1779,  ex- 
hibited portraits  at  the  Academy  in  1802,  and 
afterwards  historical  pictures.  He  is  best  remem- 
bered by  his  work  '  The  Art  of  Painting  Portraits, 
Landscapes,  Animals,  Draperies,  &c.,  in  oil  colours,' 
published  in  1840.     He  died  in  1862. 

CAXES,  EuGENio,  (Casesi,  or  Caxete,)  the  son 
and  scholar  of  Patricio  Caxes,  was  bom  at  Madrid 
in  1577.  He  assisted  his  father  in  several  of  his 
works  for  the  court,  and  was  made  painter  to 
Philip  III.  in  1612,  after  having  finished  the 
'Judgment  of  Solomon,'  in  the  king's  audience 
room  in  the  Pardo.  He  afterwards  painted  the  large 
altar-piece  in  the  convent  of  Our  Lady  of  Mercy 
at  Madrid,  and  scenes  from  the  life  of  Agamemnon 
in  the  Alcazar.  He  was  reappointed  court  painter 
by  PhiUp  IV.  in  1621,  and  painted  the  portrait  of 
that  king,  as  well  as  some  historical  works  for 
the  royal  palaces.  He  executed  several  works  in 
fresco,  in  conjunction  with  Vicente  Carducho,  for 

274 


the  cathedral  of  Toledo.  It  is  remarkable  that 
almost  all  the  works  of  this  artist,  except  those 
mentioned  below,  have  been  destroyed  by  fire. 
The  convent  of  San  Felipe  el  Real  at  Madrid, 
where  were  many  of  his  works,  was  burned  in 
1718,  and  the  Palace  of  the  Pardo  also  perished 
by  fire.  He  died  at  Madrid  in  1642.  The  following 
pictures  are  by  him  : 

Copenhagen.  Museum.    Fall  of  the  Rebel  Angels.     1605. 
Madrid.    S.  Martin.       The  Nativity,  and  the  Adoration 
of  the  Magi. 
„       Monastery  qfj 

San  Augustin  VSS.  Joachim  and  Anne. 
Caliado.      J 
„        Museum.  Landing  of  the  English  Fleet  at 

Cadiz  in  1625. 
»  »  Madonna  and  Child. 

1*  ,*  St.  Bdefonso. 

And  many  chalk  and  Indian  ink 
drawings. 

CAXES,  Patricio,  (Caxesi,  or  Caxete,)  was  a 
native  of  Arezzo.  It  is  not  known  by  whom  he 
was  instructed,  but  he  became  an  artist  of  sufBcient 
celebrity  to  be  in^ated  to  Spain  by  Philip  II.,  who 
employed  him  in  the  palaces  of  Madrid.  He  was 
commanded  to  paint  the  gallery  of  the  queen  in 
the  Palace  of  the  Pardo,  on  which  occasion  he 
made  choice  of  the  very  inappropriate  subject  of 
the  'Chastity  of  Joseph.'  It  was  destroyed  with 
many  other  valuable  works  of  art  in  the  burning 
of  that  palace.  Patricio  Caxes,  after  serving  Phi  lip 
II.  and  Philip  III.  during  forty-four  years,  died  at 
Madrid  in  extreme  poverty,  at  an  advanced  age,  in 
1612.  The  king  being  informed  of  the  state  of 
destitution  in  which  he  had  left  his  widow  and 
eight  children,  munificently  assigned  to  them  five- 
pence  a  day  for  one  year  1  Caxes  translated  into 
Spanish  Vignola's  '  Five  Orders  of  Architecture,' 
for  which  he  engraved  the  frontispiece  and  plates. 

CAYLINA,  Paolo,  the  elder  eon  of  a  Pietro 
Caylina.  He  is  mentioned  as  a  citizen  of  Brescia 
in  1458,  in  which  year  he  appears  at  Pavia  and 
painted  an  altar-piece  for  a  church  at  Mortara 
(now  at  Turin).  His  name  occurs  in  Brescian 
documents  between  1459  and  1475,  and  he  executed 
several  paintings  there,  none  of  which  have  sur- 
vived. In  aU  probability  he  was  a  brother-in-law 
of  Vincenzo  Foppa.  The  only  work  by  him  at 
present  known  is  the  following  :  Turin  Gallery, 
'  Madonna  and  Child  with  Saints ' ;  signed  and 
dated,  Paulus  Brisiensis,  1458. 

CAYLINA,  Paolo,  the  younger,  probably  a 
nephew  of  the  above  and  the  son  of  Bartolommeo 
Caylina,  whose  sister  was  the  wife  of  Vincenzo 
Foppa.  Paolo  is  spoken  of  in  Brescian  documents 
as  the  nephew  and  heir  of  Foppa  ;  on  the  death 
of  the  master  he  succeeded  to  his  house,  the  lease 
of  which  he  renewed  in  his  own  name  in  1523. 
He  died  after  1647.  He  is  occasionally  called 
Paolo  Foppa,  and  is  probably  identical  with  a 
fresco  painter  who  worked  with  Floriano  Ferra- 
mola,  and  who  is  erroneously  held  to  have  been 
Paolo  Zoppo.  The  works  of  Paolo  Caylina  have 
not  as  yet  been  identified,  but  in  all  probability  he 
is  the  author  of  many  of  the  frescoes  at  Brescia 
ascribed  to  Vincenzo  Foppa  the  younger,  of  whose 
existence  there  is  no  proof  There  were  at 
Brescia  in  the  sixteenth  century  several  painters 
nrho  bore  the  name  of  Vincenzo,  but  none  of  them 
were  connected  with  Vincenzo  Foppa.  It  would 
therefore  seem  more  in  accordance  with  historical 
accuracy  to  cancel  the  name  of  the  mythical 
Vincenzo  Foppa  the  younger  and  to  substitute  for 


PAINTERS  AND  ENGRAVEES. 


it  that  of  Paolo  Foppa,  i.  e.  Paolo  Caylina,  the 
nephew  and  heir  of  Viucenzo  Vecchio. 

CAYLUS,  Anne  Claude  Philippe  de  Thdbieres 
DE  Grimoard  de  Pestels  de  Levi,  Comte  de,  a 
celebrated  amateur,  was  born  in  Paris  in  1692.  He 
entered  the  army  and  saw  some  service  in  the  field, 
but  eventually  devoted  himself  to  the  pursuit  and 
encouragement  of  art,  in  the  service  of  which  he 
may  be  said  to  have  spent  his  life  and  fortune.  He 
visited  Italy,  Greece,  Turkey,  and  Asia  Minor,  where 
he  sought  to  discover  the  site  and  ruins  of  Troy,  and 
is  well-known  by  his  '  Recueil  d'Antiquit^s,'  an 
elaborate  publication  in  seven  volumes,  the  last  of 
which  appeared  in  1767,  two  years  after  his  death. 
His  etchings,  more  remarkable  for  the  extraordinary 
zeal  shown  in  producing  them  than  for  any  special 
talent,  are  to  be  counted  by  thousands.  His  plates, 
after  the  drawings  of  Bouchardon,  were  finished 
byFessard  and  his  pupils.  His  work  has  been  the 
means  of  preserving  to  us  the  subjects  of  masterly 
sketches  by  some  of  the  most  celebrated  painters. 
His  portrait  was  engraved  by  Charles  Nicolas 
Cochin,  the  younger.  He  died  in  Paris  in  1765, 
and  his  tomb  is  in  the  church  of  St.  Germain 
I'Auxerrois.  His  etchings  are  marked  with  the 
following  monograms :  C*.  C***.  CC.  C  de  C. 
C.S.     C*S.     M  le  C  de  C. 

Amongst  them  the  following  are  most  worthy  of 
attention : 

A  set  of  about  three  hundred  plates  of  the  Gems  in 

the  Collection  of  the  King  of  France. 
A  set  of  ten  Antique  Subjects — from  drawings  by  Edme 

Bouchardon,  etched  by  C.  de  Caylus,  and  finished  with 

the  graver  by  Le  Bas. 
A  set  of  six  Mythological  Subjects  ;  after  Bouchardon  ; 

etched  by  C,  de  Caylus,  and  finished  with  the  graver 

by  Fessard. 
A  set  of  thirty  Heads ;  after  Jtubens  and  Van  Bych  ; 

from  the  Crozat  Collection. 
A  set  of  fifty  grotesque  Heads  ;  after  Leonardo  da 

Vinci. 
A  set  of  five  Sketches  ;  after  Leila  Bella. 
Portrait  of  Polidoro  da  Caravaggio. 
Ten  subjects  from  the  Life  of  Joseph ;  after  sketches 

by  Membrandt. 
The  Deliverance  of  St.  Peter  ;  after  the  same. 
Set  of  eight  plates  for  "  Les  Chats  "  of  M.  de  Moncrif . 
The  Amusements  of  the  Country  ;  after  Watleaii. 
Portrait  of  CamUle  Falconet ;  after  jDoiiblet. 

CAZENAVE,  — ,  was  a  French  engraver,  born 
in  Paris  about  1770,  who  reproduced  with  a  certain 
success  in  the  dotted  manner  some  of  the  compo- 
sitions of  Boilly  and  other  popular  artists,  and  like- 
wise executed  some  historical  scenes  of  the  Revo- 
lution. The  date  of  his  death  is  not  recorded.  His 
best  works  are : 

L'Optique ;  after  Boilly. 

La  Rose  prise  ;  after  the  same. 

L'Amour  couronne  ;  after  the  same. 

La  Volupt6 ;  after  Regnault. 

A  Female  Head ;  after  Frud'hon. 

GAZES,  Pierre  Jacques,  bom  in  Paris  in 
1676,  was  successively  the  pupil  of  Houasse  and 
of  Bon  de  BouUongne.  He  was  noted  as  a  painter 
of  historical  subjects,  and  executed  several  works 
for  Notre  Dame,  and  for  the  choir  of  St.  Germain- 
des-Prfes.  In  the  Louvre  is  a  study  of  '  St.  Peter 
resuscitating  Tabitha.'  He  became  a  member  of 
the  Academy  in  1703.  He  became  Professor  in 
1718,  Rector  in  1743,  Director  in  1744,  and 
Chancellor  in  1746.  P.  A.  Robert,  Ch.  Parocel, 
Chardin,  and  the  Swedish  portrait-painter  Lund- 
berg  were  amongst  his  scholars.  He  died  in  Paris 
in  1764. 


R 


T  2 


GAZES,  RoMAiN,  a  French  historical  painter,  was 
born  at  St.  Bdat  (Haute-Garonne)  in  1810.  He  was 
a  pupil  of  Ingres,  and  is  known  chiefly  by  his 
portraits  and  subjects  from  sacred  history.  He 
decorated  the  church  of  St  FraD§ois  Xavier  at 
Paris,  and  died  in  1881. 

CAZIN,  Jean  Charles,  a  famous  French  land- 
scape painter,  born  at  Samers  (Pas-de-Calais)  in 
1840,  the  son  of  a  doctor.  He  studied  under  Lecoq  de 
Boisbaudran  and  went  to  England,  where  he  came 
under  the  influence  of  the  Pre-Raphaelite  school. 
It  was  from  London  he  first  sent  to  the  Salon  of 
1876 '  Le  Chantier,'  afragment  of  a  projected  decora- 
tive work.  His  principal  later  works  were  '  The 
Flight  into  Egypt,'  '  The  Journey  of  Tobias,'  '  The 
Departure  of  Joseph  and  Mary  from  Judaea,'  the 
latter  obtaining  an  honourable  mention.  In  1880 
his '  Hagar  and  Ishmael '  was  awarded  a  first-class 
medal,  but  from  1883  he  principally  produced  land- 
scapes, luminously  painted  and  full  of  sentiment. 
He  was  Vice-President  of  the  National  Society  des 
Beaux  Arts,  and  created  Knight  of  the  Legion  of 
Honour  in  1882,  and  an  officer  in  1889.  He  married 
Marie  Guillet,  also  a  well-known  artist,  and  died 
at  the  age  of  sixty.  P.  P. 

CEA,  Juan  de,  a  Spanish  painter,  flourished  in 
the  middle  of  the  16th  century  at  Burgos,  in  the 
cathedral  of  which  city  he  executed,  in  1565,  in 
conjunction  with  Juan  de  Aneda,  several  paintings 
of  merit. 

CECCARINI,  Sebastiano,  was  born  at  Urbino 
abont  the  year  1700,  and  was  a  pupil  of  Agostino 
Ciistellacci.  He  painted  historical  subjects  at  Rome 
with  distinction  during  the  pontificate  of  Clement 
XII.  The  surparta  of  the  church  of  Sant'  Urbano 
in  Campo  Carleo,  and  the  high  altar-piece  are  by 
him,  also  the  altar-'piece  in  the  Cappella  degli 
Svizzeri  in  the  Quirinal.  His  best  works  are  at 
Fano  ;  amongst  them  may  be  mentioned  his  '  St. 
Lucia'  at  the  Augustine  Church,  and  historical 
subjects  in  the  Piazza  del  Popolo.  yHe  died  in  1780. 

CECCHI,  Gaetano,  was  a  painter  born  at  Flor- 
ence, who  flourished  there  about  the  year  1770. 
He  engraved  some  plates  of  historical  subjects, 
after  the  Italian  painters,  which  are  etched,  and 
finished  with  the  graver. 

CECCHI,  Giovanni  Battista,  was  a  Florentine 
engraver,  born  at  Florence  about  the  year  1748. 
He  engraved  several  portraits  for  the  work  entitled 
'  Serie  degl'  Uomini  illustri,'  and  also  for  the  '  Life 
of  the  Marquis  de  Pombal.'  We  have  also  byhim 
the  following  plates : 

The  Calling  of  St.  Andrew  to  the  Apostleship ;  after 
L.  Cardi.  . 

The  Martyrdom  of  St.  Laurence ;  after  Pietro  da  tor- 
tona. 

The  Martyrdom  of  St.  Vitalis  ;  after  F.  Barrocci. 

The  Stoning  of  St.  Stephen ;  after  the  same. 

The  Entombment  of  Christ ;  after  Dam'ele  da  Volterra. 

Catiline's  Conspiracy ;  after  Salvator  Rosa. 

CECCHINI,  Fbanoesco,  a  Roman  engraver,  who 
flourished  about  the  close  of  the  18th  century,  is 
best  known  by'  a  set  of  five  engravings  after 
Perugino's  frescoes  in  the  Sala  del  Cambio  at 
Perugia.  He  also  engraved  the  '  Visitation  of  the 
Virgin  to  St.  Elizabeth,'  after  Moretto,  and  several 
other  subjects  from  the  Old  and  New  Testaments. 
He  was  no  longer  living  in  1811. 

GECCHINO  da  VERONA  is  only  known  as  the 
painter  of  a  '  Virgin  and  Child,  between  SS.  Vigi- 
lius  and  Sisinius,"  in  the  cathedral  of  Trent,  sup- 
posed to  have  been  painted  about  1450. 


A  BIOGRAPHICAL  DICTIONARY  OF 


CECCHINO  DE'  SALVIATI.  See  De'  Rossi, 
Frani^esco. 

CECCO,  Gregorio  di,  of  Lucca,  was  the  adopted 
eon  and  heir  of  Taddeo  Bartoli,  hia  name  first 
appearing  on  the  roll  of  the  Sienese  Guild  in 
1389.  He  seems  to  have  assisted  his  adopted 
father  in  some  of  his  pictures,  for  there  formerly 
hung  in  the  Marescotti  Chapel  of  Sant'  Agostino  at 
Siena  a  picture  that  was  signed  taddevs  et  gre- 

OORIVS    DE    SENIS   PINXERVNT.    M.C.C.C.C.S.S.       He    is 

also  known  to  have  painted  in  1384  the  boards  of 
the  Biccherna  at  Siena.  The  dates  of  his  birth 
and  death  are  unlike  uncertain.  In  the  cathedral 
at  Siena  there  is  a  picture  by  him  of  '  The  Virgin 
and  Child,  with  Seraphs  and  Angels,'  signed  and 
dated  1423. 

CECCO  BRAVO,  II.    See  Montelatici. 

CECCO  DI  PIETRO  lived  at  Pisa  in  the  14th  cen- 
tury, and  according  to  Ciampi  painted  in  the  Campo 
Santo  in  1370,  in  company  with  five  other  artists. 
He  was  one  of  the  people's  representatives  in  1380, 
and  in  1386  he  painted  a  '  Nativity  of  the  Virgin ' 
for  the  church  of  San  Pietro  in  Vincolo  at  Pisa, 
which  is  now  lost.  There  is  a  '  Crucifixion,  be- 
tween the  Virgin  and  Saints,'  by  him,  to  be  seen 
in  the  Pisa  Gallery. 

CECIL,  Thomas,  was  an  English  engraver,  who 
flourished  about  the  year  1630.  His  plates  are 
not  without  considerable  merit,  neatly  executed, 
entirely  with  the  graver,  and  chiefly  consist  of 
portraits.     Amongst  them  are  : 

Queen  Elizabeth  on  Horseback. 

"NV alter  Curie,  Bishop  of  "NA'iut-hester. 

William  Cecil,  Lord  Burghley. 

Edward  Reynolds,  Bishop  of  Norwich. 

Thomas  Kidderminster  of  Langley.     1628. 

John  Talbot.  Earl  of  Shrewsbury. 

Sir  John  Burgh,  killed  at  the  Isle  de  Ehi5 ;  this  print 
is  very  scarce,  as  it  is  thought  the  plate  was  altered, 
and  the  name  changed  for  that  of  G  ustavus  Adolphus, 
and  inserted  in  Scudery's  '  Curia  Politice.' 

John  Weaver ;  prefixed  to  his  '  Funeral  Monuments.' 
1631. 

Archee,  the  King's  Jester  ;  a  small  whole-length. 

Sir  John  Hayward,  Knt.,  LL.t). 

The  Frontispiece  to  Ambrose  Parry's  Works.     1634. 

The  Frontispiece  to  Devout  Meditations.     1629. 

The  Frontispiece  to  Lord  Bacon's  Sylva  Sytvarum.  1627. 

CEDASPE.     See  CfePEDES. 

CELENTANO,  Bernardo,  an  artist  possessed 
of  much  skill  in  the  delineation  of  character  and 
expression,  was  born  at  Naples  in  1835.  Two  of 
his  paintings  quoted  are,  'Tasso  exhibiting  the 
first  Signs  of  Madness,'  and  '  The  Council  of  Ten.' 
He  studied  at  Rome,  and  died  in  1860. 

CELERS,  Zacharie,  was  a  French  landscape 
painter,  who  flourished  at  Amiens  in  1551,  and  de- 
signed the  triumphal  arches  erected  on  the  occasion 
of  the  entry  of  Henry  II.  In  1560  he  was  con- 
demned for  having  taken  a  view  of  the  city  of 
Amiens  and  its  fortifications. 

CELESTI,  Cavaliere  Andrea,  was  a  painter  born 
at  Venice  in  1637.  He  was  a  pupil,  though  not 
an  imitator,  of  Matteo  Ponzone.  "To  a  fertile 
imagination  be  added  a  vagueness  of  style,  and  a 
flowing  outline  resembling  that  of  Paolo  Veronese. 
His  colouring  is  clear,  brilliant,  and  tender,  but 
in  some  cases,  from  defective  priming  of  his  can- 
vas, his  pictures  have  lost  something  of  their 
original  freshness,  and  in  the  half-tints  appear  to 
have  in  some  degree  perished,  from  which  circum- 
stance the  harmony  of  the  efl^ect  is  somewhat 
diminished.    He  painted  historical  subjects,  both  in 

276 


large  and  in  easel  pictures,  and  sometimes  con- 
versations and  pastoral  subjects.  His  principal 
historical  works  are  in  the  church  of  the  Ascension 
at  Venice,  the  best  being  '  The  Adoration  of  the 
Magi.'  The  ducal  palace  possesses  a  picture  of  a 
subject  taken  from  the  Old  Testament  that  is  highly 
esteemed.  He  died  at  Venice  in  1706.  Other 
works  by  him  are  in  the  under-mentioned  galleries: 

Cassel.     Gallery.        The  Illness  of  Antiochus  Soter. 
Dresden.  Gallery.        The  Murder  of  the  Innocents. 

„  „  Worship  of  the  Golden  Calf. 

„  „  Bacchus  and  Ceres. 

Munich.  Fiiiakothek.  The  Magdalen  washing  the  feet  of 
Christ. 

CELIO,  Cavaliere  Gasparo,  was  a  painter  born 
at  Rome  in  1571,  and  who  died  there  in  1640. 
According  to  Baglione,  he  was  the  pupil  of  Niccolo 
Circignani,  called  Pomarancio.  Of  his  works  there 
are  cited  • 

Rome. 


Michael     discomfiting     the 
Rebel  Angels. 


in  Laterano.} 

S.  Carlo  ai      \  gj.   (.^     ^     Borromeo. 
Cattnar%.     } 
„  Mendicanti.       St.  Francis  receiving  the   Stig- 

mata. 
„      Palazzo  Mattel.    Moses  passing  the  Red  Sea. 

CELLIER,  Celestin,  a  French  historical  and 
portrait-painter,  was  born  at  Valenciennes  in  1745, 
and  became  a  pupil  of  Groot.  The  Museum  of  his 
native  city  has  a  picture  representing  '  Valenci- 
ennes protecting  the  Arts,'  but  the  greater  part  of 
his  works  perished  in  the  time  of  the  first  French 
Revolution.     He  died  at  Valenciennes  in  1793. 

CELLIER,  Francois  Placide,  the  son  and  pupil 
of  Celestin  Cellier,  was  born  at  Valenciennes  in 
1768,  and  possessed  considerable  talent,  but  upon 
inheriting  a  fortune  at  the  death  of  his  father  he 
abandoned  art  as  a  profession.  His  pictures  of 
'Meleager  saving  Atalanta,'  and  an  "'Idyll,'  are  in 
the  Museum  of  his  native  city.     He  died  in  1849. 

CELLONY,  Joseph,  a  French  portrait-painter, 
was  born  at  Aix  in  1663,  and  died  there  in  1731. 
His  son,  Joseph  Andre  Cellony,  was  born  at  Aix  in 
1696,  and  was  a  pupil  of  his  father  and  of  Rigaud. 
He  worked  with  his  father,  whom  he  surpassed 
in  portraiture,  and  died  at  Aix  in  1746,  leaving  a 
son,  Joseph  Cellony,  who  painted  historical  sub- 
jects. He  was  born  at  Aix  in  1730,  studied  under 
Andre-Bardon,  and  died  in  1786. 

CELS,  CoRNELls,  a  painter  of  portraits  and  his- 
torical subjects,  was  born  at  Lierre  in  Brabant  in 
1778.  He  studied  under  A.  Lens  at  Brussels,  and 
then  visited  Paris  and  Italy,  where  he  became  a 
professor  of  the  Academy  of  St.  Luke.  He  went 
to  Antwerp  in  1807,  and  was  appointed  in  1820  to 
the  professorship  of  drawing  at  Tournai,  a  post 
which  he  resigned  in  1827.  He  subsequently  settled 
at  Brussels,  where  he  resided  till  his  death  in  1859. 
His  views  were  originally  directed  towards  the 
antique,  as  may  be  seen  from  a  study  of  his  '  Cin- 
cinnatus '  at  Ghent,  but  he  subsequently  took  the 
Pre-Raphaelites  as  his  model,  and  in  this  style 
painted  the  '  Descent  from  the  Cross,'  for  the  high 
altar  of  St.  Paul's  at  Antwerp,  a  picture  in  which 
the  drawing  is  bold  and  fine,  but  the  colouring 
cold,  and  the  shadows  too  dark.  'The  Baptism  of 
St.  Catharine,'  painted  in  1809,  and  now  in  the 
cathedral  at  Bruges,  is  a  specimen  of  his  earlier 
manner.  His  portraits  were  held  in  some  estima- 
tion. In  the  Rotterdam  Museum  is  a  '  Portrait  of 
Gysbert  Karel,  Count  of  Hogendorp.' 

CENNINI,  Cennino,  whose  full  name  was  Can- 


PAINTERS  AND  ENGRAVERS. 


nino  di  Drea  Cennini,  was  bom  at  Colle  di  Val  d' 
Elsa,  and  is  well  known  as  the  author  of  a  manu- 
script work  on  the  technical  process  of  painting  in 
the  14th  century,  which  has  been  translated  by 
Mrs.  Herringham  (Allen,  Lond.  1899).     He  was  a 
pupil  of  Agnolo  Gaddi  for  twelve  years,  but  his 
paintings  have  nearly  all  disappeared.     A  fresco 
of  the  Virgin  and  Saints  by  him,  in  the  Hospital 
of  S.  Giovanni  Battista,  at  Florence,  was  destroyed 
when  the  building  was  altered  in  1787.    Works  by 
him  may  be  seen  in  the  churches  of  San  Gimignano. 
Id    the   chapel   of    La   Croce   di   Giomo   in   San 
Francesco,   at   Volterra,   is   a   series   of  frescoes, 
representing  scenes  from  the  life  of  Christ,  and 
'  The  Finding  of  the  Cross ' ;  one  of  these,  repre- 
senting the  '  Massacre  of  the  Innocents,'  bears  the 
date  MCCCCX.,  and  the  signature,  '  Cienni  di  Fran- 
cesco di  Ser  Cienni  da  Firenze,'  and  it  is  considered 
most  probable  that  Cienni  and  Cennini  are  identical. 
He  was  living  at  Padua  in  1398. 
CENTO,  Pebegbini  da.     See  Peeegeini. 
CEPHALUS.     See  Bloemen,  Nobbert  van. 
CEPHISODORUS,  an  illustrious  Greek  painter, 
who  is  mentioned  by  Pliny  as  having  flourished 
about  B.C.  420. 
CERAJDOLO.    See  Del  Cebajuolo. 
CERANO,  II.    See  Crespi,  Giovanni  Battista. 
CERCEAU.     See  Andbouet-Ddcercead. 
CERCOZZI,  Michelangelo.    See  Cerquozzi. 
CEREGHETTI,   Joseph,   a   Bohemian   painter, 
was  born  at  Chrudim  in  1722,  and  died  there  in 
1799.     He  studied  under  Hermann,  and  is  known 
by  his  altar-pieces  and  portraits,  among  the  latter 
being  those  of   the  Empress  Maria  Theresa   and 
the  Prince  of  Auersperg. 

CERESA,  Cablo,  was  bom  at  Bergamo  in  1609, 
and  was  educated  under  Daniele  Crespi,  an  able 
painter  of  Milan.  In  a  short  time  he  acquired  a 
style  of  design  and  colouring  nearly  approaching 
in  merit  to  that  of  his  master.  A  tasteful  arrange- 
ment of  his  figures,  great  tenderness  of  colour,  and 
an  agreeable  expression  in  his  heads  and  forms,  are 
amongst  the  characteristics  of  the  works  of  this 
painter  as  given  by  Tassi.  He  was  also  eminent  as 
a  portrait  painter.  He  died  in  1679.  His  works 
are  chiefly  in  the  churches  of  Bergamo ;  among 
them  are : 

Bergamo.      Cathedral.     St.  Vincent  carried  up  to  Heaven 
by  Angels. 
„        S.  Francesco.     Four  of  tbe  Prophets. 
„        •S'.  Pietro.  The  Resurrection. 

CEREZO,  Mateo,  a  Spanish  painter,  was  born  in 
1635  at  Burgos,  where  he  learned  the  rudiments  of 
art  from  his  father,  Mateo  Cerezo.  When  fifteen 
years  of  age  he  went  to  Madrid,  and  frequented  the 
school  of  Juan  Carreno  de  Miranda.  After  having 
established  his  reputation  by  his  'Conceptions,' 
painted  for  the  churches  of  Madrid,  Valladolid, 
Valencia,  Burgos,  and  Malaga,  he  was  employed 
by  Francisco  de  Herrera,  the  younger,  to  assist 
him  with  his  frescoes  in  the  dome  of  the  church 
of  Our  Lady  of  Atocha.  He  endeavoured  to  imi- 
tate the  colouring  of  Van  Dyck,  but  was  always 
inferior  to  that  master.  He  died  at  Madrid  in 
1685.  The  Galleries  of  the  Hague,  Madrid,  and 
Berlin,  and  the  Czernin  Collection  at  Vienna,  all 
possess  pictures  of  the  '  Penitent  Magdalen '  by 
him.  His  most  esteemed  work  was  his  picture 
of  '  Christ  with  the  Disciples  at  Emmaus,'  painted 
for  the  refectory  of  the  Recolete  Friars  in  Madrid. 
The  Madrid  Gallery  has  by  him  a  fine  'Assumption 
of  the  Virgin '  and  the    '  Mystic  Marriage  of  St. 


Catharine  of  Alexandria.'  A  '  Crucifixion,'  formerly 
in  the  Suermondt  Collection,  is  now  in  the  Berlin 
Gallery  ;  a  '  Portrait  of  Cardinal  Puerto-Carrero  '  is 
in  the  Hermitage,  St.  Petersburg  ;  and  a  '  St.  John 
the^  Baptist ',  in  the  Cassel  Gallery. 

CERMAK,  Jaroslav,  a  Bohemian  painter,  was 
born  at  Prague  in  1831,  and  was  educated  in  the 
Academy  of  that  town  under  Cliristian  Ruben,  in 
Antwerp,  in  Brussels  under  Gallait,  whom  he  closely 
followed  both  in  his  excellencies  and  in  his  defects, 
and  lastly  in  Paris  under  Robert-Fleury.  He  settled 
in  the  last-named  city,  and  at  first  executed  scenes 
from  Bohemian  history,  as  '  A  Night  Attack  on  the 
Hussites,'  '  Bohemian  Conversion  Scene,'  and  '  The 
Begging  Court-Poets  of  Rudolph  II.'  (1850),  the  last 
of  which  gained  him  his  first  reputation.  A  tour 
in  European  Turkey  in  1858  afforded  him  new  ma- 
terial, as  instanced  in  some  pictures  mentioned 
below.  He  was  also  particularly  successful  in  the 
portraiture  of  children.  He  died  in  Paris  in  1878. 
His  later  pictures  comprise  among  others  : 

The  Montenegrin  Woman  and  her  Child. 

Turks  assaulting  a  Herzegovinian  Woman. 

Razzia  of  Bashi-Bazouks.     1861. 

The  Return  to  the  Country. 

Rendezvous  in  Montenegro.     1874. 

The  Hussites  before  Naumburg.     1875. 

Taking  of  Lauenburg.     1876. 

CERNEL,  Marie  Louise  Sdzanne  Champion 
DE.     See  Champion  de  Cernel. 

CERQUOZZI,  Michelangelo,  commonly  known 
as  Michelangelo  delle  Battaglie,  from  his  fond- 
ness for  painting  battle-pieces,  was  born  at  Rome 
in  1602.  He  was  instructed  in  the  school  of  Bonzi 
(II  Gobbo  da  Cortona),  and  afterwards  under 
Leckerbetjen  and  tlie  feamJoccia-painter  De  Laar, 
in  imitation  of  the  last  of  whom  he  depicted  low 
scenes  in  a  style  that  rivals  that  of  his  master. 
He  also  painted  fairs,  markets,  shipwrecks,  and 
doings  of  the  Lazzaroni.  His  battle  scenes  are 
full  of  life,  and  exhibit  much  richness  of  invention, 
but  are  often  too  hastily  executed.  He  finally 
took_  to  painting  flowers  and  fruits,  and  his  pro- 
ductions of  this  class  are  highly  esteemed.  He 
died  at  Rome  in  1660.  Some  of  his  productions 
are  to  be  seen  in  the  public  galleries  of  Europe ; 
but  the  beet  have  been  considered  to  be  those 
representing  '  The  Four  Seasons,'  which  were 
painted  for  the  Salviati  Palace  at  Rome. 

Berlin.       Gallery.        Procession  of  a  Pope  in  Rome. 
Dresden.    Gallery,        A  Battle-piece. 
Florence.  Uffizi  An  Old  Woman. 

Munich.    Finakothek.  Hunting-scene. 

„  „  A  Cobbler. 

Paris.         Louvre,         Fruit-pieces  {two). 

CERRINI,  Giovanni  Domenico,  called  II  Cava- 
LIEBE  Perdgino,  Was  born  at  Perugia  in  1609.  He 
frequented  the  school  of  Guido  Reni  for  some  time, 
and  became  a  graceful  and  elegant  designer,  with 
an  expression  in  his  heads  that  occasioned  some 
of  his  works  to  be  taken  for  those  of  his  master. 
His  best  production  is  a  fresco  in  the  cupola  of  La 
Madonna  della  Vittoria,  at  Perugia,  representing  St. 
Paul  taken  up  into  Heaven.  Other  works  by  him 
are  in  the  galleries  and  churches  of  Brescia,  Cassel, 
Dresden,  and  Munich.     He  died  in  1681. 

CERTOSINO,  II.     See  Cassiani. 

CERVA,  Giovanni  Battista,  was  a  native  of 
Milan,  who  flourished  about  the  year  1550.  Ac- 
cording to  Lanzi,  he  was  a  pupil  of  Gaudenzio 
Ferrari.  His  '  Incredulity  of  St.  Thomas  '  is  con- 
sidered to  be  one  of  the  finest  pictures  in  Milan. 

277 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  by  its  fine  design,  the  animated  expression  of 
the  heads,  and  its  entire  harmonious  effect,  gives 
this  artist  a  high  rank  amongst  the  painters  of  the 
Milanese  School. 

CERVELLI,  Federico,  was  a  native  of  Milan, 
who  flourished  about  the  year  1690.  He  was  the 
pupil  of  Pietro  Ricchi,  called  II  Lucchese,  whom 
he  equalled  in  the  freedom  of  his  pencil,  and 
surpassed  in  the  correctness  of  his  design  and  the 
impasto  of  his  colour.  One  of  his  finest  paintings 
is  in  the  Scuola  di  San  Teodoro,  Milan,  and  repre- 
sents an  episode  in  the  life  of  that  saint. 

CERVETTO,  Giovanni  Paolo,  was  bom  at 
Genoa  about  the  year  1630.  According  to  Soprani, 
he  was  a  scholar  of  Valerio  Castello,  whose  vigorous 
style  he  imitated  with  great  success,  but  he  died 
young,  in  1657. 

CERVI,  Beenardo,  was  a  natire  of  Modena,  and 
a  scholar  of  Guido.  He  possessed  an  extraordin- 
ary genius,  and,  in  the  judgment  of  his  excellent 
instructor,  would  have  reached  a  high  rank  in 
art,  had  he  not  been  cut  off  in  the  prime  of  his 
life  by  the  plague,  which  ■\-isited  Modena  in  1630. 
His  principal  works  are  his  frescoes  in  the  cathedral 
at  Modena,  in  the  churches  of  which  city  there  are 
some  altar-pieces  by  him,  and  a  '  Deposition  from 
the  Cross  '  in  the  Este  Gallery.  There  is  a  print 
by  him,  the  '  Martyrdom  of  St.  Sebastian,'  with 
his  name  abridged,  and  the  date  1628. 

CESA,  Antonio,  who  lived  in  the  16th  century 
at  Belluno,  but  of  whose  birth  or  death  no  dates 
can  be  given,  is  the  painter  of  an  altar-piece  in  the 
church  of  Sant'  Andrea,  Visome,  near  Belluno, 
which  represents  the  '  Virgin  and  Child,  between 
SS.  Anthony,  Daniel,  Andrew,  and  another  saint,' 
signed  "  Opus  Antonii  de  Cesa  1500." 

CESA,  Matteo,  was  an  artist  living  at  Belluno 
in  the  14th  and  15th  centuries,  of  whose  life  and 
death  no  exact  dates  are  known.  Paintings  and 
altar-pieces  by  this  painter  may  be  found  in  several 
of  the  private  collections  and  churches  in  and 
around  Belluno.  The  best  specimens  of  his  style 
are: 

Bellnno.  &  Stefano.      Virgin  and  Child,  with  Saints  and 

Angels  (carved  imrk). 
Sala.        S.  Matteo.      Vhgin    and    Child    between    SS. 
Matthew  and  Jerome. 

CESAR,  a  French   historical   painter,  who  was 
working  at  Avignon  in  1367.     He  possessed  con- 
siderable talent,  and  acquired  great  renown,  which 
was  celebrated  in  the  verses  of  Parasolz  B.,  a  con-  ' 
temporary  troubadour  of  Provence. 

CESARE  DA  SESTO  (or  Cesabe  Milanese). 
See  Sesto. 

CESARI,  Bernardino,  was  the  brother  and  pupil 
of  Giuseppe  Cesari,  whom  he  assisted  in  many 
of  his  works.  He  also  painted  several  pictures 
in  the  churches  of  Rome,  entirely  after  the  style 
of  his  brother.  For  Clement  VIII.  he  executed 
a  large  fresco  in  St.  John  Lateran,  representing 
the  Emperor  Constantine  in  a  triumphal  car,  with 
many  figures.  He  died  at  Rome  in  the  prime  of 
life  during  the  pontificate  of  Paul  V.  The  church 
of  San  Carlo  ai  Catinari  possesses  a  picture  of 
'  Christ  appearing  to  Mary  Magdalene,'  by  this 
artist. 

CESARI,  Giuseppe  (called  GinsEPPiNo,  and  also 
II  Cavaliere  d'Arpino,  from  the  birthplace  of  his 
father,  in  the  kingdom  of  Naples)  was  bom  at 
Rome  in  1568  (?).  His  father  was  a  very  humble 
artist,  who  earned  a  miserable  pittance  by  paint- 
ing ex  voti,  and  who  taught  his  son  what  he  knew  of 

278 


art,  with  the  view  of  his  succeeding  himself.  The 
young  Cesari  employed  his  leisure  moments  in  im- 
proving himself  in  drawing,  and,  at  the  age  of  thir- 
teen, obtained  his  father's  consent  to  go  to  Rome  in 
search  of  employment.  Arrived  in  that  capital, 
he  was  under  the  necessity  of  offering  his  services 
to  prepare  the  pallets  of  the  artists  who  were  then 
employed  in  the  Vatican  under  Gregory  XIII. 
He  had  been  some  time  in  that  servile  situation, 
when  he  took  an  opportunity,  in  the  absence  of 
the  painters,  to  sketch  on  the  wall  some  figures 
which  excited  the  surprise  and  admiration  of  every 
one,  particularly  Fra  Ignazio  Danti,  the  superin- 
tendent of  the  works  of  the  Vatican.  He  ac- 
quainted the  Pope  with  the  circumstance,  who 
immediately  took  the  young  artist  under  his  pro- 
tection, and  placed  him  in  the  school  of  Poma- 
rancio,  and  Giuseppino,  in  a  short  time,  was  re- 
garded as  the  most  distinguished  painter  at  Rome. 
He  was  a  perfect  master  of  the  arts  of  intrigue, 
and  had  the  talent  of  exalting  the  merits  of  his 
own  productions,  whilst  he  depreciated  the  works 
of  others.  Clement  VIII.,  who  succeeded  to  the 
papal  throne,  continued  to  him  the  favour  and 
protection  he  had  experienced  from  his  predecessor, 
and  conferred  on  him  the  knighthood  of  St.  John 
Lateran,  or,  as  some  saj-,  the  order  of  the  Abito  di 
Cristo  ;  and  Louis  XIII.  made  him  a  Chevalier  of 
the  order  of  St.  Michael.  Abusing  a  natural  facility, 
and  yielding  to  the  fire  of  an  unrestrained  imagin- 
ation, Cesari  appears  to  have  skimmed  the  surface 
of  art,  without  venturing  to  dive  into  its  depths. 
Finding  that  he  could  satisfy  the  popular  expecta- 
tion without  the  labour  of  study,  he  did  not  think 
it  necessary  to  consult  nature  or  the  best  models  of 
antiquity.  By  straining  the  attitudes  of  his  figures, 
he  expected  to  give  them  animation  and  move- 
ment ;  and  when  he  attempted  expression,  he  fell 
into  distortion  and  grimace.  Those  of  his  works 
in  which  these  defects  are  least  discernible,  are 
such  as  admit  of  bustle,  and  require  a  crowded 
composition.  Such  are  his  battle-pieces  and  pro- 
cessions, in  which  the  horses  are  drawn  with  great 
spirit,  and  his  readiness  of  invention  is  surprising. 
With  all  his  deficiencies,  he  enjoyed,  during  his 
life,  an  elevated  rank  among  the  artists  of  his  time, 
and  his  school  was  one  of  the  most  frequented  in 
Rome.  He  died  at  Rome  in  1640.  Baglione  states 
that  he  lived  to  the  age  of  eighty,  but  other  writers 
assert,  with  greater  probability  of  accuracy,  that  he 
died  at  the  age  of  seventy-two.  The  following 
are  among  his  extant  paintings : 

Cassel.  Gallery.     The  Betrayal  of  Christ. 

„  „  NjTophs  and  Tritons. 

Dresden.       Gallery.      A  Eoman  Battle. 
Fano.        Castracani      History  of  General  Castmccio  Cas- 

Palace.  tracani-  fresco. 

Florence.        UJlzi.         His  own  Portrait. 
Naples.    Carthusian   \  Scenes  from  the  life  of  Christ^ 

Monastery.  J     frescoes. 
Paris.  Louvre.        Adam  and  Eve  driven  from  Para- 

dise. 
„  „  Diana  and  Actjeon. 

Petersburg.  Hermitage.  St.  Clara  delivering  the  Town  of 

Assisi. 
Eeggio.        Cathedral.    The  Visitation. 

Rome.      S.Maria  in  )  Coronation  of  the  Virgin. 
T  alncella.  ) 
„  S.  Prassede.    The  Ascension  and  The  Prophet»— 

frescoes. 
„  Capitol  Pal.      Komulus  and  Eemus— /««<). 

„  Kape  of  the  Sabine  'Women. 

",  „  The  Horatii  and  Curiatii. 

„  „  The  Sacrifice  of  Numa  Pompilios. 

„  Capitol  Mas.    Diana. 


PAINTERS  AND  ENGRAVERS. 


Rome.      Lateran  Mvs.     The  Annunciation. 
Vienna.  Gallery.    Perseus  delivering  Andromeda 

1602. 

Cesari  executed  several  etchings  after  his  own 
designs. 

CESARIANO,  Cesare,  born   at  Milan  in  1483, 
was  an  architect  as  well  as  a  painter  of  miniatures] 
which  branches  of  art  he  learned  under  the  tuition 
of  Bramante   and   Leonardo   da   Vinci.     He  was 
employed  in  the   decoration  of  the   cathedral   at 
Milan,    and    he  translated  the   '  Architectura '    of 
Vitruvius,  printed  at  Como  in  1521,  with  woodcuts 
from  his  designs,  the  best  of  which  are  '  The  Golden 
Age,'   'The   Building  of   the   First  Houses,'   and 
'  The  Elect  of  the  Earth.'     He  died  in  1546. 
CESENA,  Peregrini  da.     See  Peeegrini. 
CESI,    Bartolommeo,    a    Bolognese     historical 
painter,  was  born  at  Bologna    in  1556.     He  was 
first  a  scholar  of  Giovanni  Francesco  Brizzio,  called 
Nosadella,  but  afterwards   studied   the  works   of 
Pellegrino  Tibaldi.     Contemporary  with  the  Car- 
racci,  and  not  unfrequently  painting  in  competi- 
tion -nith  them,  he  preserved  their  esteem  by  the 
amiability  of  his  mind,  as  much  as  he  excited  their 
emulation  by  the  display  of  his  talents.     Careful 
and  correct  in  his  design,  without  timidity,  happy 
in  the  choice  of  his  forms,  and  dehcately  tender  in 
the  purity  of  his  tints,  his  works  appear  to  have 
been  the  model  from  which  Guido  chiefly  formed 
the  suavity  and  elegance  of  his  style.     His  powers 
are  more  extensive  in  his   frescoes  than  in  his 
oil  paintings,  although  he  has  displayed  an  uncom- 
mon excellence  in  both  in   his   numerous  works 
in  the  public  edifices  at  Bologna.     His  principal 
works  in  that  city  are : 

Certosa.  Christ  in  the  Garden. 

„  Descent  from  the  Cross. 

S.  Dommico.  Adoration  of  the  Magi. 

„  Descent  of  the  Holy  Ghost. 

S.Giacomo Maggiore.  Virgin  and  Child  with  Saints. 
S.  Martirto.  Crucifixion. 

Pinacoteca.  St.  Paul  and  St.  Peter. 

„  St.  Anne  and  the  Virgin. 

His  most  celebrated  work  is  his  set  of  ten  frescoes 
in  the  Palazzo  Favi,  representing  subjects  from 
the  life  of  .^neas  :  other  works  by  him  are  in  the 
same  edifice.     He  died  at  Bologna  in  1629. 

CESILLES,  Joan,  a  painter  of  Barcelona,  who 
flourished  towards  the  close  of  the  14th  century. 
He  executed,  in  1389,  an  altar-piece  containing  the 
liistory  of  the  Twelve  Apostles  for  the  church  of 
St.  Peter  in  Reus,  but  it  was  removed  in  1557  to 
make  way  for  another  work. 

CESIO,  Carlo,  a  painter  and  engraver  of  the 
Roman  school,  was  born  at  Androdoco,  in  the 
Roman  States,  in  1625.  He  was  brought  up  at 
Rome,  in  the  school  of  Pietro  da  Cortona,  and  was 
employed  with  some  of  the  best  artists  of  his  time 
in  several  public  works  during  the  pontificate  of 
Alexander  VII.  He  painted  historical  subjects, 
and  his  works  are  held  in  considerable  estimation. 
He  died  at  Rieti  in  1686.  In  the  Quirinal,  he 
painted  '  The  Judgment  of  Solomon,'  and  others  of 
his  works  are  in  Santa  Maria  Maggiore  and  in  the 
Rotunda.  Carlo  Cesio  was  also  an  engraver  of 
some  eminence ;  we  have  by  him  several  plates 
after  the  Italian  painters  of  his  time.  His  plates 
are  etched  and  finished  off  with  the  graver,  in  a 
free,  masterly  style.  His  drawing  is  generally 
correct,  and  his  prints  have  the  effect  of  the  works 
of  a  painter.  The  following  are  his  principal 
works  as  an  engraver  : 


The  Virgin  and  Infant  Jesus  with  St.  John ;  half-length. 
St.  Andrew  led  to  Martyrdom,  prostrating  himself  before 

the  Cross ;  after  Guido. 
The  Frontispiece   to  the  book  entitled  Discorsi  della 

Masica. 
Sixteen  plates  from  the  Pamphili  Gallery ;  after  Pietro 

da  Cortona. 
Forty-one  plates  of  the  Famese  Gallery;  after  Arvnib. 

Carracci. 
Eight  plates  of  the  Buongiovanni  Chapel  in  the  church 

of  St.  Augusine  at  Rome ;  after  Lanfranco. 

CESPEDES,  Pablo  de,  called  in  Rome  Cedaspe, 
a  painter,  sculptor,  and  architect,  as  well  as  a  poet, 
scholar,  and  divine,  and  equally  an  ornament  of  the 
arts  and  literature  of  Spain,  was  born  at  Cordova  in 
1538.  He  was  educated  in  the  seminary  at  Alcala  for 
the  priesthood,  was  thoroughly  acquainted  with  the 
classical  and  oriental  languages,  and  spoke  fluently 
most  of  the  European  tongues.     As  a  painter  he 
stands  amongst  the  most  eminent  that  his  country 
has  produced.     To  perfect  himself  in  this  art,  he 
went  twice  to  Rome  for  the  purpose  of  studying 
the  works  of  the  great  masters,  especially  those 
of  Michelangelo  and  Raphael;  and  he   produced 
several  fine   paintings  for  the  public  edifices  of 
that   city.     In  the  Trinita  del  Monte  he  painted 
frescoes  of  the  '  Annunciation  '  and  the  'Nativity,' 
and  several  subjects  from  the  life  of  the  Virgin. 
Whilst  at  Rome  he  formed  a  close  friendship  with 
Federigo  Zuccaro,  from  whose  instructions  he  ac- 
quired a  pleasing  style  of  colouring.     His  learning 
and  merit  raising  him  to  the  rank  of  a  canon  of  the 
oatjiedral  of  Cordova,  he  left  Rome  for  that  city  in 
1577.     When  Zuccaro  was  applied  to  by  the  Bishop 
of  Cordova  to  paint  a  picture  for  his  cathedral,  he 
declined     the    commi-ssion,    saying,    that    whilst 
Cdspedes  was  in  Spain  they  need  not  send  to  Italy 
for  painters.     Some  of  his   best  pictures,  repre- 
senting the  '  Martyrdom  and  Burial  of  St.  Catha- 
rine,' were  executed  for  the  Jesuits'   College   at 
Cordova,  but  all  have  been  destroyed  or  lost.     He 
died  at  Cordova  in  1608,  and  was  buried  in  the 
cathedral  of  that  city.     For  a  full  account  of  this 
remarkable  man,  see  Cean  Bermudez's  '  Diccionario 
Historico.'     We  note  of  his  paintings  : 
Cordova.     Cathedral.     Last  Supper. 

n  „  Virgin  and  Child,  with  St.  Anne. 

Seville.       Cathedral.    Four  Allegorical  Figures  of   the 
Virtues. 

„  Museum.      Last  Supper. 

CESSON,  Etienne  Victor,  French  landscape 
painter  ;  born  at  Coincy  (Aisne)  in  1835.  Studied 
in  Pari.s  at  the  Ecole  des  Beaux  Arts  and  became 
the  pupil  of  Amaury  Duval,  who  employed  him  in 
connection  with  the  mural  decorations  of  the  parish 
church  of  St.  Germain  en  Laye  and  others. 
Duval  subsequently  took  him  with  him  in  his 
journeys  to  Egypt,  Nubia  and  Syria.  Cesson  also 
gave  considerable  help  to  Puvis  de  Chavannes 
in  some  of  his  more  important  decorative  works. 
From  1864  onwards  he  exhibited  in  the  Salon  ; 
among  his  landscapes  may  be  cited  '  Le  Mont 
Canigou  ' ;  and  of  his  figure  painting,  the  '  Hylas,' 
and  'Giotto,  enfant,'  deserve  mention.  He  also 
executed  some  praiseworthy  portraits  and  char- 
coal sketches.  His  death  occurred  at  his  native 
place,  Coincy,  on  June  6th,  1902. 

CEULEN,  Janssens  van.    See  Janssens. 

CEXSELLI.    See  Caselli. 

CHAFRION,  Lorenzo,  known  as  Fray  Matias 
DE  Valencia,  a  painter  of  religious,  historical,  and 
other  subjects,  was  bom  at  Valencia  in  1696.   After 

279 


A  BIOGRAPHICAL  DICTIONAKY  OF 


acquiring  some  knowledge  of  painting  he  went  to 
Rome,  and  became  a  disciple  of  Corrado  Giaquinto, 
whose  manner  he  imitated.  He  returned  to  Va- 
lencia, and  passed  on  to  Granada  to  seek  assistance 
from  an  uncle  who  was  one  of  the  judges  of  the 
Court  of  Chancery,  but  not  receiving  the  aid  which 
he  needed,  he  entered  the  Capuchin  convent  in 
that  city  in  1747.  He  was  drowned  in  1749.  In 
the  refectory  of  the  convent  to  which  he  belonged 
there  was  a  picture  of  the  •  Last  Supper  '  by  him  ; 
and  several  of  his  smaller  subjects  were  in  the 
collections  of  private  persons  in  Valencia. 

CHALETTE,  Jean,  a  French  miniature  and 
portrait  painter,  was  a  native  of  Troyes,  where  he 
at  iirst  practised  his  art.  In  1581  he  was  sum- 
moned to  Toulouse  to  decorate  the  H6tel-de-Ville, 
and  there  gained  so  much  renown  that  he  settled 
in  that  city,  where  he  died  in  1643. 

CHALLES,  Charles  Michel  Ange,  a  French 
painter,  architect,  and  mathematician,  was  born  in 
Paris  in  1718.  He  studied  under  Andre,  Lemoine, 
and  Boucher,  and  subsequently  visited  Rome.  A 
'  Sleeping  Diana,'  which  he  painted  in  1744,  and 
a  '  Venus '  by  him  are  to  be  seen  in  Brunswick. 
He  also  painted  many  ceilings  for  palaces  and 
churches,  but  never  gained  much  reputation  as  a 
painter,  although  elected  an  Academician  in  1753. 
As  an  architect  and  as  draughtsman  to  the  king  he 
directed  the  theatrical  entertainments  at  Fontaine- 
bleau  in  1765,  and  the  fetts  and  illuminations  at 
Versailles  on  the  occasion  of  the  birth  of  Louis 
XVI.  in  1754,  as  well  as  the  funerals  of  the 
Dauphin  and  the  Dauphiness,  of  Stanislaus,  King 
of  Poland,  of  the  Queen  of  Spain,  and  of  Louis 
XV.  and  his  queen,  Marie  Leszczynska.  He  was  a 
knight  of  the  Order  of  St.  Michael,  married  the 
daughter  of  the  painter  Nattier,  and  died  in  Paris 
in  1778. 

CHALMERS,  Sir  George,  Bart.,  a  native  of 
Edinburgh  and  a  pupil  of  Allan  Ramsay,  exhibited 
portraits  at  the  Royal  Academy  from  1775  to  1790. 
He  died  in  London  in  1791. 

CHALMERS,  George  Paul,  a  Scotch  portrait 
and  landscape  painter,  was  born  at  Montrose  in 
1836.  He  at  first  served  an  apprenticeship  to  a 
ship-chandler,  but  afterwards  went  to  Edinburgh, 
and  entered  the  School  of  Design,  then  under  the 
direction  of  Lauder.  His  earlier  works  were  por- 
traits, and  it  was  only  at  a  later  period  that  he 
took  to  landscape  painting.  He  was  elected  an 
Associate  of  the  Scottish  Academy  in  1867,  and  an 
Academician  in  1871.  He  died  in  Edinburgh, 
February  20,  1878,  from  the  effects  of  an  accident 
that  befell  him  in  the  streets  of  that  city  on  the 
16th  of  the  same  month.     Among  his  works  were: 

The  End  of  the  Harvest.     1873. 

Running  AVater.     1875. 

The  Love  Song. 

Prayer.     1871. 

The  Potato  Harvest. 

The  Legend  (in  the  Edinliur</h  National  Gallery). 

CHALMERS,  W.  A.,  a  water-colour  painter, 
who  practised  in  London  towards  the  close  of  the 
18tb  century,  and  is  believed  to  have  died  young. 
His  works  are  chiefly  interiors  of  churches  with 
some  ceremony  introduced :  occasionally  he  painted 
subject-pieces,  as  "  Mrs.  Jordan  as  '  Sir  Harry 
Wildair.'"  and  "Kemble  in  the  'Stranger.'" 

CHALON,  Alfred  Edward,  was  born  at  Geneva, 
in  1781.  His  family,  whilst  he  was  yet  a  youth,  re- 
moved to  London,  where,  together  with  his  brother 
John  James  Chalon,  he  was  destined  for  mercantile 
280 


pursuits.  But  an  inclination  for  the  arts  overruled 
this  intention,  and  the  estabhshment  of  the  Sketch- 
ing Society,  in  which  the  two  young  Chalons  were 
mainly  instrumental,  confirmed  them  in  the  adop- 
tion of  the  pursuit  of  their  choice.  Alfred  became 
a  student  of  the  Royal  Academy  in  1797,  an  Asso- 
ciate in  1812,  and  a  Royal  Academician  in  1816. 
His  reputation  was  first  established  and  principally 
rests  upon  the  portraits,  mostly  in  water-colours, 
which  he  exhibited  during  many  years  at  the  Royal 
Academy ;  and  in  which  he  displayed  a  certain 
turn  of  piquancy  and  elegance,  and  a  free  and 
sparkling  pencil.  So  much  in  vogue,  indeed,  was 
he  at  one  time,  that  the  ladies  of  the  aristocracy 
flocked  to  him  to  sit  for  their  portraits.  He  made 
a  striking  portrait  of  Queen  Victoria,  shortly  after 
her  accession,  and  was  appointed  portrait-painter 
in  water-colours  to  Her  Majesty.  When  somewhat 
advanced  in  life,  he  essayed  oil-painting,  but,  as 
may  be  supposed,  \vith  a  success,  in  a  technical 
point  of  view,  subordinate  to  that  which  he  had 
achieved  in  the  more  familiar  vehicle  of  water- 
colours  ;  whilst,  as  regards  composition  and  treat- 
ment, the  delineator  of  the  reigning  belle  of  the 
season  was  hardly  endowed  with  the  grandeur  of 
purpose  and  style  to  do  full  justice  to  such  subjects 
as  '  Samson  and  Delilah,'  '  John  Knox  reprov- 
ing the  Ladies  of  Queen  Mary's  Court'  (1837), 
'  Christ  mocked  by  Herod '  (1841),  '  A  Madonna  ' 
(1845),  or  even  to  fancy  and  poetic  subjects  of  less 
lofty  aim.  He  died  at  Kensington  in  1860,  and  was 
buried  in  Highgate  Cemetery. 

CHALON,  Christina,  was  born  in  Amsterdam 
in  1748,  and  studied  painting  under  Sara  Troost 
and  Ploos  van  Amstel.  She,  however,  devoted 
herself  more  particularly'  to  etching,  in  which  she 
acquired  great  proficiency.  She  has  left  us  some 
thirty  plates,  for  the  most  part  in  the  style  of 
Ostade.  She  died  at  Leyden  in  1808.  Her  etch- 
ings are  marked  with  Chr"'  Gha.,  or  Chr^  Chal., 
or  else  CC.     Amongst  the  best  may  be  noticed : 

An  Interior,  with  three  Boors. 

A  Mother  taking  three  children  to  School. 

An  Old  "Woman  saluting  a  peasant  Boy. 

CHALON,  Henry  Bernard,  an  animal  painter, 
was  born  of  Dutch  parentage  in  London  in  1770. 
He  was  a  student  of  the  Academy,  and  first  exhi- 
bited a  landscape  with  cattle  in  1792.  He  met 
with  much  patronage  at  court,  being  appointed 
animal  painter  to  the  Duchess  of  York  in  1795,  as 
well  as  to  the  Prince  Regent,  and  afterwards  to 
William  IV.  His  pictures  were  chiefly  devoted  to 
the  portraiture  of  horses.  He  met  with  a  severe 
accident  in  1846,  and  died  in  1849.  His  daughter, 
Miss  M.  A.  Chalon  (afterwards  Mrs.  H.  Moselet), 
was  miniature-painter  to  the  Duke  of  York.  She 
died  in  1867. 

CHALON,  John  James,  was  bom  at  Geneva 
in  1778,  of  an  old  French  family  who  had  taken 
refuge  there  after  the  Revocation  of  tlie  Edict 
of  Nantes.  He  was  a  painter  of  a  wide  range 
of  subjects  —  landscapes,  marine  scenes,  animal 
life,  and  figure-pieces.  He  went  to  England  when 
quite  young,  and  entered  the  Schools  of  the  Aca- 
demy in  1796.  His  first  picture,  '  Banditti  at 
their  Repast,'  appeared  in  1800.  In  1808,  he,  his 
brother  Alfred  Edward  Chalon,  and  some  friends, 
founded  the  Sketching  Society,  and  in  the  same 
year  he  joined  the  Water-Colour  Society,  but  in 
1813  he  seceded  from  it,  and  again  devoted  himself 
to  painting  pictures  in  oil  for  the  Royal  Academy. 


PAINTERS  AND  ENGRAVERS. 


He  was  elected  an  Associate  of  that  institution 
in  1827,  and  an  Academician  in  1841.  In  1820, 
Cbalon  published  a  series  of  '  Sketches  from  Parisian 
Manners,'  in  which  the  incidents  were  admirably 
varied,  and  so  selected  as  to  display  the  most 
amusing  points  of  national  character  in  connection 
with  all  that  was  most  picturesque  in  the  costume 
of  the  time,  and  with  that  true  humour  which  never 
degenerates  into  caricature.  He  was  fond  of  the 
scenery  of  Switzerland,  the  land  of  his  father  and 
mother,  and  some  of  his  finest  landscapes  are 
faithful  transcripts  of  its  mountains  and  lakes. 
Among  these,  a  very  noble  work  is  his  '  Castle  of 
Chillon,'  its  lonely  white  walls  strongly  contrasting 
with  the  dark  mountains  that  rise  behind  them,  and 
glittering  in  the  ripple  of  the  clear  blue  lake. 
Amongst  his  later  productions  were  '  Gil  Bias  in 
the  Robbers'  Cave,'  in  1843,  and  the  '  Arrival  of 
the  Steamer  at  Folkestone,'  in  1844.  In  1847,  he 
was  seized  by  an  attack  of  paralysis,  and,  after 
a  long  and  painful  illness,  died  at  Kensington  in 
1854.  The  Gallery  of  Greenwich  Hospital  possesses 
his  'Napoleon  on  board  the  Bellerophon,' painted 
in  1816,  and  in  the  Sheepshanks  Collection  at  the 
South  Kensington  Museum  are  '  Village  Gossips,' 
painted  in  1815,  and  '  Hastings,  Fishing  Boats 
making  the  Shore  in  a  Breeze,'  painted  in  1819. 

CHALON,  Louis,  was  a  landscape-painter,  who 
is  thought  to  have  been  born  in  Holland  about 
1687.  He  painted  some  views  on  the  Rhine,  en- 
livened with  figures,  in  a  very  artistic  manner  and 
with  an  agreeable  colouring.  He  died  at  Amster- 
dam in  1741. 

CHAM.     See  Noi,  Comte  Amj^dSe  db. 

CHAMBERLAIN,  William,  who  was  born  in 
London,  studied  in  the  Royal  Academy  Schools 
and  under  Opie.  His  works,  soraetimeb  exhibited 
at  the  Royal  Academy,  were  for  the  most  part 
portraits.     He  died  at  Hull  in  1807. 

CHAMBERLIN,  Mason,  a  pupil  of  Frank  Hay- 
man,  was  a  portrait-painter,  who  gained  some  suc- 
cess on  account  of  the  fidelity  of  his  likenesses. 
He  was  an  exhibitor  at  Spring  Gardens  in  1763,  and 
at  the  Royal  Academy  (of  which  he  was  one  of 
the  original  members)  from  1769  to  1786.  He 
died  in  London  in  1787.  The  Royal  Academy  pos- 
sesses his  portrait  of  Dr.  Hunter,  which  was  his 
presentation  picture,  and  the  Royal  Society  has  his 
portrait  of  Dr.  Chandler.  Both  these  portraits 
have  been  engraved. 

CHAMBERS,  George,  a  painter  of  shipping 
scenes,  was  a  son  of  a  poor  seaman  of  Whitby 
in  Yorkshire,  where  he  was  born  in  1803.  During 
his  apprenticeship  on  board  a  trading  sloop  he 
gave  evidence  of  the  talent  by  which  he  was 
subsequently  distinguished,  by  making  sketches 
of  shipping  for  the  amusement  and  gratification 
of  the  seamen.  At  Whitby,  he  took  lessons  of  a 
drawing-master  of  the  name  of  Bird,  and  em- 
ployed his  spare  time  in  painting  small  pictures  of 
shipping,  for  which  he  found  a  ready  sale.  Go- 
ing to  London  three  years  later,  he  obtained  an 
introduction  to  Mr.  Thomas  Horner,  who  employed 
him  for  seven  years  to  assist  in  painting  the  great 
Panorama  of  London  at  the  Colosseum,  in  the 
Regent's  Park.  He  was  also  engaged  as  scene- 
painter  at  the  Pavilion  Theatre.  Here  he  attracted 
the  notice  of  Admiral  Lord  Mark  Kerr,  who  became 
his  sincere  patron,  and  procured  him  an  introduc- 
tion to  King  William  IV.  He  was  admitted  as  an 
Associate  Member  of  the  Water-Colour  Society  in 
1834,  and  was  elected  a  full  member  in  1836  ;  but 


a  constitution  originally  very  weak,  and  much  shat- 
tered by  a  sea-faring  life,  was  unable  to  bear  the 
incessant  application  to  which  his  mind  would  sub- 
ject it :  his  strength  gave  way,  and  he  died  in  1840. 
His  pictures  are  now  appreciated  by  collectors,  and 
obtain  good  prices.  His  best  productions  are  his 
naval  battles,  in  which  he  is  excellent,  though  in 
the  colouring  there  is  perhaps  too  much  redness 
pervading  everything,  the  smoke  in  particular. 
There  are  in  the  hall  at  Greenwich  Hospital  three 
battles  by  him  :  the  '  Bombardment  of  Algiers,' 
the  '  Capture  of  Portobello,'  and  a  copy  of 
West's  picture  of  the  '  Destruction  of  the  French 
Fleet  at  La  Hogue.'  In  the  South  Kensington 
Museum  are  four  water-colour  drawings  by 
him. 

CHAMBERS,  Thomas,  an  English  engraver,  was 
born  Ln  London  about  the  year  1724,  and  drowned 
himself  in  the  Thames  in  1789.  He  engraved 
many  of  the  plates  for  Boydell's  collections,  and 
several  portraits  of  artists  for  Lord  Orford's 
'  Anecdotes.'  They  are  executed  with  the  graver, 
in  a  firm,  but  not  a  pleasing  style.  The  following 
are  some  of  his  best  prints  : 

A  Concert ;  after  Caravaggjo. 
Raphael's  Mistress  ;  after  Raphael. 
The  Holy  Family  ;  after  Murillo. 
St.  Martin  dividing  his  Cloak  ;  after  Kulens. 
St.  Peter  and  St.  John  healing  the  Sick  ;  after  S.  Bour- 
don. 
Jupiter  and  Antiope  ;  after  Casali. 
Helena  Forman ;  after  Van  Dyck. 
The  Good  Man  at  the  Hour  of  Death ;  after  Hayman. 
The  "Wicked  Man ;  the  companion ;  after  the  same. 
The  Death  of  Turenne  ;  after  Falmieri. 
Mrs.  Quarrington  as  St.  Agnes ;  after  Reynolds. 

CHAMORRO,  JtTAN,  a  Spanish  historical  painter, 
was  a  pupil  of  Francisco  de  Herrera,  the  elder,  and 
was  president  of  the  Seville  Academy  in  the  years 
1669  and  1670.  He  was  hving  in  1673,  but  the 
date  of  his  death  is  not  known.  The  pictures  of 
the  '  Four  Doctors  of  the  Church,'  and  those  repre- 
senting scenes  from  the  life  of  the  Virgin,  in  the 
church  of  Our  Lady  of  Mercy  at  Madrid,  attest 
his  merits  as  a  painter  and  a  colourist. 

CHAMPAIGNS,  Jean  Baptiste  de,  a  Flemish 
painter  of  historical  subjects,  genre  pictures,  and 
portraits,  was  born  at  Brussels  in  1631.  He  was  a 
nephew  of  Philippe  de  Champaigne,  who  sent  for 
him  to  Paris  when  only  eleven  years  of  age,  and 
gave  him  instruction  in  painting.  He  adopted  the 
style  of  his  uncle,  but  did  not,  however,  attain  his 
eminence,  though  his  works  have  sometimes  passed 
current  under  the  uncle's  name.  He  visited  Italy, 
returned  to  Brussels,  and  thence  went  to  Paris, 
where  he  was  in  1663  elected  a  member  of  the 
Academy.  He  died  in  Paris  in  1681.  The  follow- 
ing are  some  of  his  principal  works : 


Brussels.       Museum. 


Grenoble.     Museum. 

Lyons.         Museum. 
Marseilles.  Museum. 


Nancy.         Museum. 

Yersailles.  Falate  : 
Salon  de 
Mercure. 


The  Assumption    of    the  Virgin 
(painted  for   the   church   of  iSt. 
Gudule^  Brussels). 
St.  Peter. 
The  Benediction  of  the  Order  of 

St.  Dominic. 
The  Adoration  of  the  Shepherds. 
The  Stoning  of  St.  Paul  at  Lystra 
(a  '  mai '  painted   in   1667  for 
Notre-Dame  at  Paris). 
St.  Paul. 
I  The  ceiling  representing*  Mercury 
y     in  his    chariot    drawn    by  two 
\     cocks,'  and   four  subjects  from 
the  lives  of  Alexander,  Ptolemy, 
and  Augustus. 

281 


A  BIOGRAPHICAL  DICTIONARY  OF 


CHAMPAIGNE,  Philippe  de,  a  painter  of  his- 
torical subjects  and  portraits,  was  born  at  Brus- 
sels in  1602.  Though  a  native  of  Brabant,  he  is 
generally  reckoned  as  belonging  to  the  French 
school.  He  studied  under  Bouillon,  Michel  Bour- 
deaux,  and  Fouquiere,  but  went  to  Paris  at  the 
age  of  nineteen,  where  he  placed  himself  under 
the  direction  of  L'AUemand.  Shortly  aftersvards 
he  was  employed  by  Du  Chesne,  the  painter  royal, 
to  work  at  the  Luxembourg  in  concert  with  Nicolas 
Poussin.  His  extraordinary  success  arousing  the 
envy  of  Du  Chesne,  he  quitted  Paris  for  Brussels  in 
1627,  but  was  almost  immediately  recalled  by  the 
Queen-Mother,  Marie  de  Medicis,  to  be  appointed 
to  the  post  held  by  Du  Chesne,  who  had  just  died. 
At  Paris  he  executed  numerous  works  for  the 
churches  and  royal  residences,  and  especially  for 
Cardinal  Richelieu's  palace.  He  was  one  of  the 
first  members  of  the  Academy,  of  which  he  was 
also  Professor  and  Rector.  His  star,  however, 
began  to  pale  somewhat  before  the  brilliancy  of 
Le  Brun's  rising  fame.  But  this  aroused  no  un- 
worthy feeling  in  Champaigne's  mind.  He  retired 
quietly  and  modestly  from  active  and  public  Ufe, 
and  died  in  Paris  in  1674.  His  pictures  show  a 
certain  affinity  with  those  of  Poussin,  whose  in- 
fluence he  felt,  but  they  surpass  them  in  point  of 
colouring,  being  remarkable  in  that  respect  for 
truth,  brilliancy,  and  technical  skill.  His  weak 
point  was  in  the  conception  and  the  composition. 
As  a  portrait-painter  he  holds  high  rank.  His 
likenesses  are  distinguished  by  a  fine,  noble,  and 
life-like  execution,  vivid  appreciation  of  the  natural, 
a  skilful  luminosity  of  colouring,  and  careful  exe- 
cution and  master!)'  handling.  The  following  are 
some  of  his  principal  works  : 

Althorp,  Earl  Spencer,  Portrait  of  Robert  Amaud 
d'Andilly.  Brussels,  Museum,  Presentation  in  the 
Temple ;  St.  Genevieve,  St.  Joseph  {puinted  for 
Saint  Severin,  Paris) ;  St.  Ambrose,  St.  Stephen 
(painted  for  Saint  Gennain-V ^uxerrois  at  Paris); 
The  Lite  of  St.  Benedict  {executed  for  the  Abbey  of 
the  Val-de-Grace  at  Paris) ;  Portrait  of  Himself  (a 
replica  of  that  in  the  Louvre).  Dijon,  Museum,  The 
Presentation  in  the  Temple.  Florence,  Cffi:i,  Portrait 
of  a  Man;  The  Calling  of  St.  Peter;  Pitti  Pal., 
Portrait  of  a  Man.  Hague,  Gallery,  Portrait  of 
Joseph  Govaerts.  1665.  Lille,  Museum,  Adoration. 
London,  National  Gallery,  Three  Portraits  of  Cardinal 
de  Richelieu  in  one  picture  {a  full-face  and  two  pro- 
files :  painted  for  the  use  of  the  Soman  sculptor 
Moccht  in  making  a  bust) ;  Portrait  of  Cardinal 
Richelieu  in  State  dress ;  Wallace  Gallery,  Four 
Important  Pictiires.  Lyons,  Museum,  The  Last 
Supper  {replica  of  the  painting  in  the  Louvre) ; 
Finding  the  Relics  of  St.  Gervais.  Madrid,  Gallery, 
St.  Anne  and  the  Virgin ;  Portrait  of  Louis  XIH. 
Munich,  Pinakothek,  Portrait  of  Marshal  de  Turenne ; 
Madonna  and  Christ.  Paris,  Louvre,  The  Feast  in 
the  House  of  Simon ;  The  Last  Supper,  1648  ;  Christ 
on  the  Cross  ;  The  Dead  Christ ;  Portrait  of  Catherine 
Agnes  Amauld,  and  the  daughter  of  the  painter ; 
Landscape ;  Louis  XIH.  crowned  by  Victory ;  Por- 
trait of  Cardinal  de  Richelieu ;  Portrait  of  Robert 
Amaud  d'Andilly,  1650  ;  Portrait  of  Himself  :  Por- 
traits of  Francois  Mansard  and  Claude  Perrault; 
Christ  on  the  Cross,  1674 ;  Portrait  of  Jean  Antoine 
de  Mesme,  1653.  Vienna,  Adam  and  Eve  mourning 
for  Abel. 

CHAMPAIGNE,  Pierre.     See  De  Kempe.veeb. 

CHAMPIN,  Jean'  Jacques,  a  French  painter  in 
water-colours  and  lithographer,  was  bom  at  Sceaux 
in  1796.  He  was  a  pupil  of  Storelli  and  of  Regnier, 
and  devoted  himself  chiefly  to  historical  land- 
scapes.    He  lithographed  a  series  of  views  of  Old 

282 


Paris,  and  in  conjunction  with  Regnier  produced 
the  '  Habitations  des  personnages  les  plus  c^lebres 
de  la  France  depuis  1790  jusqu'a  nos  jours.'  He 
also  contributed  designs  to  the  '  Magasin  Pittor- 
resque,'  the  '  Illustration,'  and  many  other  illus- 
trated publications  of  his  time.     He  died  in  1860. 

CHAMPION  de  CERNEL,  Marie  Louise  Su-     j 
ZANNE,  a  French  engraver  who  li%"ed  in  the  latter  part      1 
of  the  18th  centurj',was  a  sister  of  General  Marceau. 
Married  at  the  early  age  of  fourteen  to  a  profligate 
husband,  she  sought  to  relieve  the  unhappiness  of       ■ 
her  life  by  studying  drawing  and  engraving  under      I 
an  artist  named  Sergent,  whose  wife  she  became       * 
after  the  death  of  her  first  husband.     She  engraved 
vignettes  after  Cochin,  Moreau,  Eisen,  and  Maril- 
lier,  and  some  portraits  in  aquatint  for  the  coUec-      1 
tion  published  by  Blin  and  Le  Vachez.  " 

CHANDLER,  J.  W.,  a  natural  son  of  Lord  War- 
wick, painted  portraits  in  London  towards  the  close 
of  the  18th  century,  and  afterwards  in  Aberdeen- 
shire and  Edinburgh.    He  died  young  about  1804. 

CHANTEREAU,  J.,  a  French  painter,  who  was 
born  in  Paris  about  1710.  His  works  were  chiefly 
battle-pieces  and  hunting-scenes,  painted  with  con- 
siderable life  and  movement.  It  is  probable  that 
he  studied  under  Watteau  or  Pater.  A  scarce 
etching  of  his  exists,  entitled,  '  Divertissement  par 
eau  et  par  mer,"  or,  as  it  is  sometimes  called, 
'L'lle  de  Cj-there.' 

CHANTRY,  John,  was  an  English  engraver  of 
the  time  of  Charles  II.,  who  worked  chiefly  for  the 
booksellers.  He  lived  some  time  at  Oxford,  and 
died  about  1662.  His  plates  are  executed  with  the 
graver  in  a  formal,  stifi  style.  Vertue  mentions 
the  following  portraits  by  hun : 

James  I. 

Charles  II. ;  three  prints. 

James,  Duke  of  Monmouth. 

John  Selden. 

Edward  Leigh,  M.A..  of  Magdalen  College,  Oxford. 

Thomas  'Whitaker,  Physician  to  Charles  H. 

Richard  Gethinge,  a  Writing  Master. 

CHANUEL,  GoNNET,  a  French  historical  painter, 
was  born  at  Avignon,  where  he  flourished  in  1560. 
He  painted  some  pictures  of  which  the  composition 
and  colour  were  much  admired. 

CHAPELLE,  George  db  la.  See  De  la 
Chapelle. 

CHAPLIN,  Chables,  French  painter  and  en- 
graver, born  at  Andely  in  the  department  of  Eure, 
on  the  8th  of  June.  1825.  His  father  was  English, 
but  his  mother  French.  He  did  not  become  a 
naturalized  Frenchman  until  1886.  A  pupil  of 
Drolling, his  earlyportraits  and  landscapesexhibited 
a  strongly-marked  realistic  tendency,  but,  soon 
changing  his  style,  he  reproduced  elegant  types  of 
women  and  allegorical  works.  His  best-known 
pictures  are  '  Le  Soir  dans  les  Bruyferes'  in  the 
Bordeaux  Museum,  and  '  Les  BuUes  de  Savon'  at 
the  Luxembourg.  He  also  painted  a  decorative 
panel  entitled  '  Un  Reve,'  for  Prince  Demidoff,  and 
in  1861  he  executed  the  ceiling  and  door-panels  of 
the  Salon  des  Fleurs  at  the  Tuileries.  He  etched 
a  series  of  eaux-fortes  after  his  own  pictures 
and  several  portraits  after  Rembrandt.  As  a 
foreigner  he  was  disqualified  for  the  'prixde  Rome,' 
but  gained  a  third-class  medal  in  1851,  a  second- 
class  medal  in  1852,  and  a  medal  in  1865,  in  August 
of  which  j'ear  he  was  decorated  with  the  Legion  of 
Honour,  and  promoted  officer  in  1879.  He  died  in 
Paris  on  the  20th  of  January,  1891. 

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PAINTERS  AND  ENGRAVERS. 


CHAPONNIER,  Alexandre,  a  Swiss  enamel- 
painter  and  engraver,  was  bom  at  Geneva  in  1753. 
He  settled  in  Paris,  and  executed  in  the  dotted 
style  many  mythological  and  fancy  subjects  after 
Huet,  Schall,  Boilly,  Cazenave,  and  other  painters 
of  the  French  school  of  the  18th  century.  He  died 
about  1824.  His  best  works  are  '  Le  Prelude  de 
Nma,'  'L'Amant  favorise,'  'La  Comparaison  des 
petits  Pieds,'  and  'Le  Bouquet  ch^ri,'  all  after 
Boilly. 

CHAPRON,  Nicolas,  a  French  historical  painter 
and  engraver,  was  born  at  Chateaudun  in  1612. 
He  was  a  pupil  of  Simon  Vouet,  and  went  to  Rome 
about  1640,  where  he  painted,  under  the  direction 
of  Poussin,  a  copy  of  Raphael's  'Transfiguration.' 
He  also  painted  a  '  Holy  Family,'  and  '  Mary  going 
to  the  Temple  ;  '  the  latter  has  been  engraved  by 
Picquot.  He  remained  at  Rome  several  years,  and 
in  1649  published  his  set  of  fifty-two  plates  from 
Raphael's  works  in  the  Vatican.  Several  artists 
have  engraved  these  admirable  productions,  but  in 
all  of  them  we  seek  in  vain  for  the  nobility  of  cha- 
racter and  purity  of  design  of  their  great  author. 
Chapron's  transcripts  are  perhaps  the  least  faulty  of 
those  that  have  appeared.  He  died  at  Rome  pro- 
bably about  1656.  Chapron  is  better  known  by 
his  engravings  than  by  his  paintings,  very  few  of 
which  have  descended  to  us.  The  Louvre,  and 
the  museums  of  Rennes,  Perpignan,  Nantes,  and 
Alengon  possess  drawings  and  paintings  by  him. 
We  have,  besides  the  Bible  of  Raphael,  the  follow- 
ing plates  by  him,  sometimes  marked  N  C  F.,  or 
N  C  H F,  some  of  which  are  from  his  own  designs: 

His  own  Portrait,  seated  at  the  foot  of  the  Bust  of 
Eaphael.     The  title  to  Eaphael's  Bible. 

Henry  IV.,  King  of  France;  below,  in  basso-rilievo,  the 
King  wounded  by  Du  Chatel ;  after  Freminet ;  scarce. 

Another  Portrait  of  Henry  IV.,  with  a  battle  below. 

The  Virgin  suckling  the  Infant ;  said  to  be  after  Titian, 
but  considered  by  Mariette  to  be  Chapron's  own 
design. 

The  AJhance  of  Bacchus  and  Venus.     1639. 

A  drunken  Silenus,  with  a  Satyr  offering  him  drink. 

Bacchus,  with  a  Man  carrying  a  Child. 

Satyrs,  with  Women  and  Children. 

A  Bacchanal,  with  a  Child  pouring  out  wine  to  a  Bac- 
chante. 

Another  Bacchanal,  with  Silenus  riding  on  a  Goat. 

Young  Bacchanalians,  one  riding  on  a  Goat. 

Another  Bacchanal.    1639. 

CHAPUY,  Jean  Baptiste,  a  French  engraver, 
was  born  in  Paris  in  1760.  He  worked  with  Jani- 
net  upon  the  '  Costumes  des  Theatres  de  Paris,'  and 
executed  some  fancy  subjects  after  Lavreince  and 
others,  but  more  especially  devoted  himself  to  en- 
graving in  colour.  The  best  of  the  many  prints  of 
the  fete  of  the  Federation  in  the  Cliamp  de  Mars, 
July  14, 1790,  is  by  him,  after  Le  Roy,  and  he  also 
engraved  a  very  curious  set  of  fourteen  plates  of 
'  Coiffures  de  Dames,'  as  well  as  a  series  of  por- 
traits of  Louis  XVI.,  Marie  Antoinette,  Cagliostro, 
and  others  concerned  in  the  affair  of  the  Diamond 
Necklace.     He  died  in  Paris  in  1802. 

CHAPUY,  Nicolas  Marie  Joseph,  a  French 
architect,  lithographer,  and  naval  engineer,  was 
born  in  Paris  in  1790.  He  executed  the  drawings 
and  plates  for  the  '  Vues  pittoresques  des  Cath6- 
drales  fran9aises,'  1823-31  ;  '  Voyage  pittoresque 
dans  Lyon,'  1824  ;  '  Le  Moyen-Age  monumental  et 
arch^ologique,'  1839-44,  and  several  other  works. 
He  also  edited,  with  Beugnot,  the  complete  works 
of  Palladio,  1825-42.     He  died  in  Paris  in  1858. 

CHARDIN,  Jean  Simeon,  was  born  in  Paris  in 


1699.  His  father  at  first  placed  him  with  Gazes, 
but  as  that  master's  habit  was  to  give  his  pupils 
his  own  work  to  copy,  he  did  not  make  much 
progress.  He  subsequently  entered  the  atelier  of 
Noel  Nicolas  Coypel,  and  was  chosen  among  other 
of  Coypel's  pupils  to  assist  Jean  Baptiste  van  Loo 
in  restoring  one  of  the  galleries  at  Fontainebleau. 
In  the  establishment  of  his  reputation  he  now  de- 
voted himself  to  the  painting  of  dead  animals 
and  still-life.  His  old  master.  Gazes,  is  said  to 
have  taken  some  of  his  productions  for  original 
works  of  the  Dutch  masters.  His  success  became 
assured,  and  he  was  made  a  member  of  the  Aca- 
demy in  1728,  and  Treasurer  in  1755.  About 
1737  he  began  to  turn  his  attention  to  figure 
painting,  and  his  well-known  '  Benedicite '  was 
exhibited  in  1740.  His  works  are  remarkable  for 
truth,  simplicity,  and  neatness  of  finish,  as  well 
as  for  the  harmony  of  their  tone,  and  the  generally 
careful  management  of  light  and  shade.  It  is 
wortliy  of  note  that  they  fell  into  disrepute  towards 
the  close  of  the  last  century,  but,  with  the  revival 
of  a  truer  feeling,  they  have  again  won  a  high 
position  in  public  estimation.  Chardin's  second 
wife  having  been  a  lady  of  Rouen,  he  spent  several 
years  in  that  city,  but  died  in  Paris  in  1779.  The 
following  are  some  of  his  principal  works : 
Dulwich.       Gallery.      Girls  at  Work. 

t  Madame  Geoffrin. 


Montpellier.  Miisee 
Fabre. 


Paris.         Louvre. 


(  Kitchen   Utensils,/ ^''^'^^"■''"  ^/f" 
,  <    tures  at    the 


„  La  Caze  J 
Coll.    1 


Petrsbrg.  Hermitage. 


1  Fruit,  Animals,  &c.-^   ^carf.    1728. 
The    Blessing    (Le     Benedicite). 

1740. 
Dead  Rabbit.     1757? 
Kitchen  Utensils.     1731. 
The  Attributes  of  the  Arts.    1765. 
The  Attributes  of  Music.     1765. 
-The  Blessing  {replica  of  above). 
Boy  with  Cards. 
Monkey  Painting. 
The  Silver  Goblet. 
The  Basket  of  Grapes. 
Kitchen  Utensils. 
And  others. 
The  Blessing. 
The  Washerwoman. 
Vienna.  ■^'«<''''<^''S*«'«  f  Mother  and  Son.     1739. 

Gallery.     \  Interiors  with  figures  {three). 

Ghardin  had  a  son  who  won  the  '  grand  prix '  for 
painting  in  1754,  but  died  young. 

CHARLES  XV.,  King  of  Sweden  and  Norway, 
was  born  May  3rd,  1826,  and  succeeded  to  the 
throne  on  the  death  of  his  father,  King  Oscar  I., 
on  the  8th  of  July,  1859.  He  received  instruction 
in  the  art  of  landscape  painting  first  from  his 
father,  but  was  afterwards  more  fully  instructed 
by  Boklund,  and  his  style  was  still  further  influ- 
enced by  Bergh  and  Wahlberg.  The  subjects 
he  chose  were  scenes  in  Sweden  and  Norway, — 
broad  sketches  of  coast  scenery,  or  summer  wood- 
lands. He  often  painted  in  conjunction  with 
Malmstrom  and  Winge,  who  supplied  the  figures. 
Among  his  works  may  be  mentioned  '  In  the 
Forest,'  painted  in  1869,  '  View  on  the  Waldbach,' 
and  the  '  Castle  of  Ulricsdal.'  He  died  at  Malmo, 
Sept.  18,  1872.  The  position  in  which  Charles 
XV.  stood  towards  the  arts  had  much  influence  on 
their  development  in  Sweden.  He  was  the  rally- 
ing-point  of  the  art  world  in  his  own  kingdom,  and 
was  the  means  of  turning  the  attention  of  Swedish 
artists  to  the  beauties  of  their  own  country. 

CHARLES,  Claude,   a  French  historical   and 

283 


A  BIOGRAPHICAL  DICTIONARY  OF 


decorative  painter,  was  bom  at  Nancy  in  1661. 
He  studied  under  Gerard,  and  became  herald  at 
arms  and  painter  to  Leopold,  Duke  of  Lorraine. 
He  painted  numerous  pictures  for  the  churches  of 
Nancy,  and  died  in  that  city  in  1747. 

CHARLET,  Nicolas  TonssAiNT,  a  French  painter 
and  lithographer,  was  born  in  Paris  in  1792.  He 
showed  much  taste  for  drawing  whilst  at  school, 
and  later  on  studied  under  Lebel  and  Gros.  The 
first  work  that  brought  him  into  notice  was  a  litho- 
graph, '  La  Garde  meurt  mais  ne  se  rend  pas,'  pub- 
lished in  1817.  There  is  a  touch  of  humour  in  his 
representations,  especially  in  those  in  which  grena- 
diers are  introduced.  He  perhaps  had  a  natural  in- 
clination towards  subjects  of  that  class  from  the  fact 
of  his  father  having  been  in  the  army.  Figures  of 
street  Arabs,  market  women,  and  concierges  were 
also  handled  by  him  in  a  life-like  and  picturesque 
manner.  The  Louvre  possesses  twelve  of  his  draw- 
ings. Versailles  has  a  '  Scene  from  the  Russian  Cam- 
paign,' exhibited  in  1836 ;  the  Museum  of  Lyons, 
•  Moreau's  Passage  of  the  Rhine  ; '  and  the  Museum 
of  Bordeaux,  '  Wounded  Soldiers  on  the  March.' 
He  died  in  Paris  in  1846.  Charlet's  lithographs 
number  nearly  two  thousand,  besides  which  he 
produced  a  large  number  of  water-colour  and  sepia 
drawings  and  some  etchings. 

CHARMADAS,  (or  Charmas,)  was  one  of  the 
earliest  of  the  Greek  monochromists,  who  flourished 
about  B.C.  850. 

CHARMETTON,  Georges,  a  French  historical 
painter,  was  born  at  Lyons  in  1619.  He  was  a 
pupil  of  Jacques  Stella,  and  was  made  an  Academi- 
cian in  1663,  in  which  year  Sebastien  Bourdon 
entrusted  to  him  the  whole  of  the  architectural 
decorations  of  the  Hotel  de  Bretonvilliers.  He 
died  in  Paris  in  1674. 

CHARPENTIER,  Constance  Marie,  whose 
maiden  name  was  Blondelu,  was  born  in  Paris  in 
1767.  She  studied  under  Wilk,  David,  Lafitte, 
Gerard,  and  Bouillon,  and  devoted  herself  chiefly 
to  portraiture,  but  likewise  painted  some  genre 
subjects.     She  died  in  Paris  in  1849. 

CHARPENTIER,  Edqene  Lodis,  who  was  born 
in  Paris  in  1811,  studied  under  Gerard  and  Cogniet, 
and  became  celebrated  as  a  painter  of  historical 
pictures.  These  were  frequently  battle-scenes, 
some  of  which  are  at  Versailles.  He  was  also  a 
portrait  painter,  and  one  of  his  most  successful 
works  was  a  likeness  of  Georges  Sand,  painted  in 
1839.  His  '  Pupils  of  the  Ecole  Polytechnique  at 
the  Battle  of  Paris,  March  30,  1814,'  which  was 
exhibited  in  1852,  is  now  in  the  Museum  of  Bou- 
logne-sur-Mer.     He  died  in  1880. 

CHARPENTIER,  Fran(;'ois  Philifpb,  a  French 
engraver,  who  invented  a  machine  for  engraving  in 
aquatint,  and  another  for  engraving  patterns  for 
lace,  was  born  at  Blois  in  1734,  and  died  there  in 
1817.  By  this  artist  we  have  among  other  prints 
the  following : 

The  Education  of  the  Virgin ;  after  Boucher. 
Cupids  playing  with  the  Graces ;  the  same. 
The  Death  of  Archimedes ;  after  Giro  Ferri, 
The  Shepherde.ss ;  after  Berchem. 
The  Shepherd  reposmg ;  after  the  same. 
The  Descent  from  the  Cross ;  after  C.  van  Loo. 
Astyanax  torn  from  the  arms  of  Andromache  by  order 
of  Ulysses  ;  after  J)oyen. 

CHARPENTIER,    Jean    Baptiste,    a    French 

painter  of  genre  subjects  and  portraits,  was  born 

in  Paris  in  1728,  and  died   there  in  1806.     The 

Museum  of  Rennes  has  by  him  a  full-length  por- 

284 


trait  of  the  Duke  of  Penthievre,  High  Admiral  of  ' 
France  and  Governor  of  Brittany.     His  son  and 
pupil,  Jean  Baptists  Charpentier,  born  in  1779 
in  Paris,  where  he  died  in  1835,  painted  historical  j 
subjects  and  portraits. 

CHARPENTIER,  Rene  Jacques,  a  French! 
engraver,  was  bom  at  Caen  in  1733,  and  died  in 
1770.  We  have  by  him  '  The  Last  Supper,'  and 
'  Christ  washing  the  Disciples'  Feet,'  after  Lam- 
bert Lombart,  and  a  '  Crucifixion,'  after  his  own 
design. 

CHARPENTIERE,  Adkien.    See  Carpentiers. 

CHARPIGNON,  Claude,  was  a  French  engraver 
who  flourished  in  the  17th  century,  by  whom  we 
have  a  '  Virgin  and  Child,'  after  Guido  Reni ;  a 
'  Holy  Family,'  after  Laurent  de  La  Hyre ;  '  St.  Mary 
of  Egypt,'  after  Blanchard,  and  some  portraits. 

CHARRETIE,  Anna  Maria,  was  born  at  Vaux- 
hall  in  1819.  Through  misfortunes  after  the  death 
of  her  husband,  she  adopted  art  as  a  profession. 
Amongst  her  pictures  are  '  Lady  Betty  Germain,' 
'  Lady  Betty's  Maid,'  '  Lady  Betty  shopping,'  and 
'  Mistress  of  herself  though  China  fall.'  She  died 
at  Kensington  in  1875. 

CHARRIN,  Fanny  and  Sophie,  were  sisters,  and 
natives  of  Lyons.  Fanny  was  a  pupil  of  Legay, 
and,  adopting  miniature  painting,  was  attached  to 
the  porcelain  manufactory  at  Sevres.  She  died  in 
Paris  in  1854.  Sophie  painted  portraits,  and  died 
in  Paris  in  1856. 

CHARTIER,  Jean,  a  French  painter  and  en- 
graver, was  born  at  Orleans,  in  the  early  part  of 
the  16th  century.  In  1574  he  published  a  set  of 
ten  engravings  from  his  own  designs,  entitled, 
'  Les  Blasons  de  vertu,'  the  frontispiece  to  which 
contains  a  portrait  of  the  artist.  He  died  at 
Orleans  in  1586.  Among  other  works  by  him  we 
have  the  following  plates  : 

The  Vir^n  and  Infant  Jesus,  with  St.  John. 

A  Man  sitting  in  a  Landscape,  with  ruins. 

A  nude  figure  of  a  Man  carrying  the  base  of  a  column. 

The  Artist  himself  seated  in  his  studio. 

CHASE,  John,  was  born  in  London  in  1810. 
When  very  young  he  showed  a  love  for  art,  and 
was  greatly  helped  in  his  studies  by  Constable, 
who  took  a  warm  interest  in  his  efforts  and  pro- 
gress. At  fourteen  he  exhibited  his  first  picture 
at  the  Roj'al  Academy,  and  ten  years  later  he  was 
chosen  one  among  the  earliest  members  of  the 
New  Society  of  Painters  in  Water-Colours  (now 
the  Institute),  to  wliich  he  was  a  constant  contri- 
butor. He  generally  painted  landscapes  and  archi- 
tectural subjects,  especially  Haddon  Hall.  He 
died  in  London  in  1879.  In  the  South  Kensington 
Museum  there  is  a  drawing  by  him  of  '  Windmills 
by  a  River.' 

CHASSELAT,  Charles  Abraham,  a  French  his- 
torical painter,  was  the  son  of  Pierre  Chasselat. 
He  was  born  in  Paris  in  1782,  and  became  a  pupil 
of  his  father  and  of  Vincent.  He  exhibited  in  1812 
'  The  Repose  of  Belisarius.'  He  also  illustrated 
the  works  of  Voltaire,  Racine,  Moliere,  and  other 
authors  ;  and  was  employed  in  making  drawings 
of  state  ceremonials,  as  the  '  Funeral  of  Louis 
XVIII.'  and  the  'Coronation  of  Charles  X.'  He 
died  in  Paris  in  1843.  His  son  Henri  J.  Saint- 
Ange  Chasselat,  who  was  a  pupil  of  Lethiere, 
painted  historical  and  genre  subjects.  He  was 
born  in  1813,  and  died  in  1880. 

CHASSELAT,  Pierre,  a  French  miniature 
painter,  was  a  pupil  of  Vien.  He  exhibited  water- 
colour  drawings  and  miniatures  from  1793  to  1810. 


PAINTEES  AND  ENGRAVERS. 


He  was  a  native  of  Paris,  and  died  in  that  city  in 
1814.  ,  ■' 

CHASSERIAD,  Theodore,  a  French  historical 
and  portrait  painter,  was  born  at  Sainte-Barbe 
de  Samana  in  the  Antilles  in  1819.  Brought  to 
France  whilst  quite  a  boy,  he  was  placed  in  the 
studio  of  Ingres,  and  he  afterwards  followed  that 
master  to  the  French  school  at  Rome,  but  subse- 
quently quitted  him  in  order  to  give  himself  up  more 
freely  to  his  own  inspirations.  He  next  fell  under 
the  influence  of  the  leader  of  another  great  school, 
Delaroche.  Chasseriau  executed  several  laro-e 
mural  paintings  on  the  grand  staircase  of  the  Cour 
des  Comptes  in  the  palace  of  the  Conseil  d'etat, 
and  in  the  churches  of  St.  Merry,  St.  Roch,  and  St.' 
Philippe-du-Roule  at  Paria.  Among  his  works 
may  be  cited  the  'Tepidarium  at  Pompeii'  (now 
in  the  Louvre),  'Arab  Cavaliers  carrying  away 
their  Dead,' '  The  Arabian  Challenge,'  'Susannah 
and  the  Elders,' '  Christ  in  the  Garden  of  Olives,'  and 
'Mary  Stuart  defending  Rizzio  against  his  Assas- 
sins.' His  chief  portraits  are  those  of  Lacordaire 
and  of  Madame  de  Girardin.  He  also  left  behind 
him  fifteen  etchings  of  subjects  from  Shakespeare's 
'  Othello,'  and  thirty  from  '  Hamlet.'  He  died  in 
Paris  in  1856. 

CHASTEAU,  GniLLAnME,  a  French  engraver, 
was  born  at  Orleans  in  1635.  He  was  instructed 
by  Greuter,  but  afterwards  studied  under  CorneHs 
Bloeraaert,  and  went  for  further  improvement  to 
Italy.  After  passing  several  years  at  Rome  he 
returned  to  Paris,  where  he  was  employed  by  Col- 
bert. His  first  productions  were  some  portraits  of 
the  Popes.  He  afterwards  engraved  several  prints 
after  N.  Poussin  and  some  of  the  Italian  painters, 
some  of  which  are  entirely  executed  with  the 
graver,  in  the  style  of  Poilly  and  Bloemaert,  whilst 
others  are  the  work  of  the  point,  which  he  handled 
with  spirit  and  taste.  Indeed  it  is  to  be  regretted 
that  he  did  not  always  follow  that  style,  as  being 
more  picturesque  and  free.  The  plates  which  he 
engraved  at  Rome  are  usually  marked  Gnlielmna 
Gastellus  Gallus.  He  became  an  academician  in 
1663,  and  died  in  Paris  in  1683.  The  following 
are  his  principal  works  : 

A  Bet  of  Portraits  of  the  Popes. 

Portrait  of  Jean  Baptiste  Colbert;  oval. 

Portrait  of  the  Bishop  of  Euette. 

Tlie  Virgin  with  the  Infant  Jesus,  embracing  a  Cross. 

The  Life  of  St.  Theresa. 

The  Miraculous  Draught  of  Fishes  ;  after  Raphael. 

The  Baptism  of  Christ ;  after  A  Ihani. 

St.  Paul  restored  to  sight  by  Ananias ;  after  Pietro  da 

Cortona. 
The  Martyrdom  of  St.  Stephen  ;  after  Annibale  Carracci. 
The  Assumption  of  the  Virgin  ;  after  the  same. 
Christ  appearing  to  St.  Peter ;  after  the  same. 
The  Repose  in  Egypt ;  after  Carreggio. 
The  Holy  Family,  with  St.  John  ;  after  N.  Poussin. 
The   Israelites   gathering   Manna  in  the  Wilderness; 

after  the  same. 
Christ  healing  the  Blind ;  after  the  same 
St.  Paul  taken  up  to  Heaven  ;  after  the  same. 
The  Preservation  of  the  Voung  Pyrrhus  ;  after  the  same. 
Einaldo  and  Aimida  ;  after  the  same. 
The  Death  of  Germanicus  ;  after  the  same. 
The  Virgin  and  Infant  Jesus  ;  after  Noel  Coypel, 
The  Holy  Family  ;  after  the  same. 

Antoinette  Chastead,  the  wife  of  Guillaume 
Chasteau,  was  a  daughter  of  the  landscape  painter, 
Antoine  H6rault.  She  was  born  in  Paris  in  1642, 
and  distinguished  herself  as  a  painter  of  miniatures, 
executing  both  portraits  and  copies  of  the  works  of 
great  masters,  among  the  latter  being  the  '  Family 


of  Darius,'  after  Lebnin.  She  married  in  1686,  as 
her  second  husband,  the  painter  Jean  Baptiste 
Bonn  art,  and  died  in  Paris  in  1695. 

CHASTEAU,  Nicolas,  (or  Chateau,)  a  French 
engraver,  was  born  in  Paris  about  the  year  1680, 
and  died  about  1750.  We  have  the  following 
plates  by  him : 

A  Young  Lady,  with  a  Mask  in  her  Hand  ;  half-length  ; 

after  iSanterre. 
A  Young  Lady  in  a  Spanish  Dress ;  half-length  ;  after 

the  same. 
Summer,  represented  by  a  female  figure ;  half-length ; 

after  P.  van  den.  Serge. 
Venus  and  Adonis  ;  after  L.  Silvestre. 
Daphne  and  ApoHo ;  after  the  same. 
Binaldo  and  Armida;  after  the  same;  finished  by  J. 

Audran. 

There  was  likewise  a  painter  named  Nicolas 
Chasteau,  who  died  in  Paris  in  1704,  at  the  age 
of  44. 

CHASTEL,  FRANgois  D0.     See  Duchatel. 

CHASTILLON,  Cladde,  a  French  engineer,  topo- 
grapher, and  engraver,  was  born  at  Chalons-sur- 
Marne  in  1547,  and  died  in  Paris  in  1616.  There 
is  by  him  a  valuable  series  of  plates  entitled,  '  Topo- 
graphie  fran^oise,  ou  representation  de  plusieurs 
villes,  bourgs,  chasteaux,  maisons  de  plaisance, 
ruines  et  vestiges  d'antiquitez  du  royaume  de 
France,'  published  in  1641,  and  again  with  additions 
in  1647. 

CHASTILLON,  Louis  de,  a  French  painter  in 
enamel  and  miniature,  and  an  engraver,  was  born 
at  Ste.  M^nehould  in  Champagne  about  1639.  He 
excelled  in  enamel  painting,  and  executed  all  the 
portraits  which  the  king  gave,  set  in  jewels,  to 
the  foreign  ambassadors.  He  engraved  several 
large  plates  after  the  designs  of  Tortebat,  and  ap- 
pears to  have  beefi  an  imitator  of  the  fine  style  of 
Gerard  Audran.  His  prints  are  not  without  merit, 
though  greatly  inferior  to  those  of  his  model.  He 
died  in  the  Louvre  in  1734.  We  have  by  him  the 
following  plates : 

The  Adulteress  before  Christ ;  after  S.  Bourdon. 

The  Conversion  of  St.  Paul ;  after  the  same. 

The  Seven  Sacraments  ;  after  Poussin. 

St.  John  in  the  Isle  of  Patmos  ;  after  the  same. 

Jupiter  and  Leda ;  after  the  same. 

The  Fates  spinning  the  Destiny  of  Marie  de'  Medici ; 

after  Rubens. 
Two  sets  of  prints  of  the  Fountains  at  Versailles. 
A  set  of  plates  of  the  Pavilions  at  Marly. 

CHATAIGNIER,  Alexis,  a  French  engraver, 
born  at  Nantes  in  1772,  was  a  pupil  of  Qu^verdo. 
He  executed  a  large  number  of  plates  for  Filhol's 
'  Mus^e  Franfais,'  and  died  in  Paris  in  1817. 

CHATARINUS.     See  Venetiis. 

CHATEL,  FRANgois  du.     See  Duchatel. 

CHATELAIN,  Jean  Baptiste  Claude,  an  en- 
graver, was  born  in  Paris  about  1710.  One  account 
given  of  his  history  states  that  his  proper  name 
was  Philippe,  and  that  he  served  as  a  French 
ofiicer  in  the  campaign  in  Flanders,  but  afterwards 
devoted  himself  to  the  pursuit  of  art.  He  was 
endowe<I  with  extraordinary  capacity ;  and  had  his 
application  been  but  equal  to  his  genius,  few 
would  have  surpassed  him  in  the  branch  of  art  to 
which  his  natural  disposition  directed  him.  He 
had  a  peculiar  talent  for  drawing  landscapes, 
either  from  nature  or  his  own  fancy,  with  a  readi- 
ness that  was  altogether  surprising.  Unfortunately, 
from  his  idle  and  dissolute  course  of  life,  he  seldom 
exercised  his  abilities  until  compelled  by  necessity. 
The  drawings,  in  chalk  and  with  the  pen,  which 

285 


A  BIOGRAPHICAL  DICTIONARY  OF 


he  has  left  make  us  deeply  regret  that  the  irregu- 
larity of  his  life  has  limited  these  admirable  pro- 
ductions to  a  much  smaller  immber  than  his 
uncommon  facility  would  otherwise  have  secured 
to  us.  Chatelain  was  much  employed  by  Boydell, 
especially  in  engraving  with  Vivares  the  series  of 
landscapes  after  Claude,  Rembrandt,  Guaspre,  and 
others.  Vivares  being  more  appreciated  by  the 
public,  his  name  was  often  placed  on  plates  en- 
graved by  Chatelain  alone,  as  in  the  case  of  a  fine 
landscape  after  Pietro  da  Cortona,  and  another 
named  '  The  Storm,'  in  which  Poussin  has  intro- 
duced the  story  of  Pyramus  and  Thisbe.  He  en- 
graved, also  for  Boydell,  eleven  views  in  London 
and  in  Italy.  He  died  in  London  in  1771.  The 
following  list  comprises  his  most  important  works ; 

The  Four  Times  of  the  Day;  etched  by  Chatelain. 
afterwards  finished  in  mezzotint  by  Houston. 

Eight  Landscapes  ;  afttr  Gaspard  Poussin. 

A  Landscape  ;  after  Memhrandt. 

Eight  Yiews  of  the  Lakes  in  Cumberland  and  'West- 
moreland ;  after  Beliers. 

Three  Landscapes  ;  after  Pietro  da  Cortona,  N.  Poussin, 
and  F.  Bolotjnese. 

Portrait  of  Crebillon. 

Portrait  of  Meunier  de  Querlon. 

CHATELET,  Claude  Louis,  a  French  painter, 
was  born  in  Paris  in  1753.  He  produced  Swiss 
views,  sea-pieces,  and  pastoral  scenes  in  the  style 
of  Vemet.  Examples  of  his  work  are  in  the 
Orleans  Museum,  the  Palace  at  Fontainebleau,  and 
the  Cottier  Collection.  He  embraced  with  ardour 
the  cause  of  the  Revolution,  allied  himself  with 
Robespierre  and  the  leaders  of  the  Jacobins,  and 
became  a  member  of  the  Revolutionary  Tribunal. 
He  was  arrested  some  months  after  the  9th  Ther- 
midor,  tried,  condemned,  and  executed  in  Paris 
May  7th,  1795. 

CHATFIELD,  Edward,  a  portrait  painter,  was 
bom  in  1802.  He  was  a  pupil  of  Haydon,  and  ex- 
hibited at  the  Royal  Academy  from  1827.  He  also 
painted  some  historical  subjects — the  'Death  of 
Locke '  in  1833,  the  '  Battle  of  Killiecrankie '  in 
1836,  and  'Ophelia'  in  1837 — but  his  powers  were 
not  equal  to  such  works.  He  wrote  some  articles 
for  '  Blackwood's  Magazine,'  and  the  '  New  Monthly 
Magazine,'  and  died  in  1839. 

CHATILLON,  Charles  de,  a  native  of  Doullens, 
was  a  French  painter  who  executed  a  fine  portrait 
of  Napoleon  I.  as  Emperor,  of  which  there  is  an  ex- 
cellent engraving  by  Audouin.  This  engraving  is 
found  surmounting  a  plate  of  'The  Battle  of  Aus- 
teriitz,'  engraved  by  Duplessis-Bertaux,  and  finished 
by  Bovinet. 

CHATILLON,  Henri  Guillaume,  a  French  line- 
engraver,  and  professor  of  drawing  at  the  Military 
School  of  St.  Cyr,  was  born  in  Paris  in  1780.  He 
was  a  pupil  of  both  Girodet  and  Girardet.  There 
exists  a  large  series  of  lithographs  of  the  drawings 
which  he  made  for  the  use  of  his  pupils.  He  died 
at  Versailles  about  1856.  The  following  are  con- 
sidered his  best  works : 

The  Madonna  with  the  Fish ;  engraved  under  Chatil- 
lon's  directions  from  his  own  drawing ;  after  Saphael. 

The  Holy  Family  ;  after  Giulio  Romano.  (Musce  Fran- 
^ais.) 

St.  Michael  and  the  Dragon ;  after  Raphael. 

Endymion  ;  after  Girodet. 

An  Offering  to  jEsculapins ;  after  Guerin. 

Angelica  and  Medora ;  after  the  same. 

CHATILLON,  Louis  de.    See  Chastillon. 
CHATILLON,  Pauline.     See  Gauffier. 
CHAUBERT,  Germain,  a  French  painter  and 
286 


engraver,  was  born  at  GrisoUes  in  1784.  He 
painted  an  '  Assumption  of  the  Virgin,'  and  en- 
grayed  an  '  Ecce  Homo,'  after  Mignard.  He  was 
designer  and  engraver  to  the  Academy  of  Sciences 
at  Toulouse,  and  died  in  1821. 

CHAUDET,  Antoine  Denis,  a  distinguished 
French  sculptor,  who  was  also  an  historical 
painter,  was  bom  in  Paris  in  1763.  When  at 
Rome  he  studied  particularly  the  works  of  Raphael, 
and  has  left  behind  him  a  picture  on  the  subject  of 
'^neas  and  Anchises.'  The  edition  of  Racine 
published  by  Didot  in  1801—1805,  contains  some 
illustrations  after  his  designs.  He  was  elected  a 
member  of  the  Institute  in  1805,  and  died  in  Paris 
in  1810. 

His  wife,  Jeanne  Elisabeth  Gabiou,  was  like- 
wise an  artist  of  talent.  She  was  born  in  Paris  in 
1767,  and  married  in  1793.  Her  studies  were 
made  under  the  direction  of  Madame  Lebmn  and 
of  her  husband,  and  in  1799  she  exhibited  her  best 
work,  '  L'Education  du  Cariin.'  She  also  painted 
some  good  portraits.  After  the  decease  of  Chaudet 
she  married,  in  1812,  M.  Husson,  and  died  in  Paris 
in  1832. 

CHAUFOURIER,  Jean,  a  French  landscape 
painter  and  engraver,  was  born  in  Paris  in  1675. 
He  married  a  daughter  of  the  celebrated  engraver, 
Gerard  Edelinck,  and  taught  drawing  to  Mariette.' 
He  was  received  into  the  Academy  in  1735,  and  died 
at  St.  Germain-en-Laye  in  1757.  There  are  three 
of  his  drawings  in  the  Louvre,  and  we  have  a  set 
of  eight  landscapes  engraved  by  him. 

CHADVEAD,  Evrard,  a  French  painter,  the  son 
of  Fran9ois  Chauveau,  was  born  in  Paris  in  1660, 
and  studied  under  his  father  and  Henri  Lefebvre 
He  was  largely  employed  at  Gaillon  by  Archbishop 
Colbert,  and  in  1695  went  to  Sweden,  where  he 
painted  many  ceilings  and  decorations  for  the 
'palaces  of  the  Queen  and  nobles.  He  died  in 
Paris  in  1739. 

CHAUVEAU,  FRANgois,  a  French  painter  and 
engraver,  was  bom  in  Paris  in  1613.  He  studied 
under  Laurent  de  La  Hyre,  and  painted  small  pic- 
tures m  the  style  of  that  master,  but  not  meeting 
with  much  success,  he  devoted  himself  entirely 
to  engraving.  His  first  attempts  were  with  the 
graver,  but  he  soon  exchanged  it  for  the  point, 
with  which  he  could  give  more  rapid  expression  to 
the  creations  of  a  lively  and  fertile  genius.  His 
smaller  plates  are  much  in  the  manner  of  S^bastien 
Leclerc,  and  these  are  his  best  works.  He  is 
said  to  have  produced  upwards  of  three  thousand 
plates,  most  of  which  were  for  the  illustration  of 
books.  He  was  received  into  the  Academy  in 
1663,  and,  died  in  Paris  in  1676.  He  was  the 
father  of  Evrard  Chauveau,  the  painter,  and  Rene 
aiauyeau,   the   sculptor.     His  plates   are   signed 

i^/f-'--^(^  "^  "*  f"'  FG-  '■»  ^t  ^^-Z  F  C.; 
J<.  th.  d.  ;  or  with  ciphers.  The  following  are 
his  prmcipal  works : 

SETS   OF  PRINTS. 

Les  D^Uces  de  l-Esprit ;  fifty  plates,  de.signed  and  en- 
graved by  himself. 

Nineteen  plates  for  the  History  of  Greece 

Many  plates  for  Benserade's  translation  of  Ovid's '  Meta- 
morphoses.'    1676. 

The  Bible  History  ;  in  nineteen  plates 

Several  plates  for  Tasso's  '  Jerusalem  ' 

The  same  for  the  Fables  of  La  Fontaine. 

Some  plates  for  Scarron's  '  Virgile  Travesti.' 

Twenty-one  plates  for  the  poem  of  Clovis. 

Twelve  plates  for  the  Pucelle  d'Orleans 


PAINTERS  AND  ENGRAVERS. 


Two  hundred  and  forty-three  medals  in  the  collection 
of  F.  Orsini. 

DETACHED   PRINTS  AFTER   HIS   OWN    DESIGNS. 
The  Annunciation. 
The  Eepose  in  Egypt. 
The  Virgin  and  Child,  with  St.  John. 
The  Crucifixion. 

The  Mystery  of  the  Sacrament ;  1676 ;  in  two  sheets. 
Meleager  and  Atalanta  ;  circular. 
Venus  and  Adonis  ;  the  same. 
The  Carrousel  of  1662. 
His  own  Portrait. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
Christ  with  the   Disciples  at  Emmaus ;   after  Titian  • 

the  same  subject  that  is  so  finely  engraved  bv  Masson 

called  the  '  Table-Cloth.' 
A  Concert;  after  Domenichino  ;  also  engraved  by  Pjcort. 
The  Life  of  St.  Bruno  ;  after  the  pictures  by  Le  Sueur, 

originally  in  the  Convent  of  the  Carthusians  at  Paris  • 

twenty-three  plates.  ' 

The  Nativity  ;  after  L.  de  La  Hyre. 
The  Holy  Family  ;  after  the  same. 
Meleager  presenting  the  Head  of  the  Boar  to  Atalanta; 

after  the  same. 
The  Triumphal  Arch  for  the  Place  Dauphine;  after 

Lebrun. 
Portrait  of  Rabelais ;  frontispiece  to  the  first  edition  of 

his  '  Epitres,'  1651. 

CHAUVIN,  Pierre  Athanase,  a  French  land- 
scape painter,  was  born  in  Paris  in  1774.  He  was 
a  pupil  of  Valenciennes,  and  passed  the  greater 
part  of  his  life  at  Rome,  where  he  died  in  1832. 
Many  of  his  works  are  in  England,  Russia,  and 
Germany.  A  '  View  in  the  environs  of  Naples '  is 
in  the  Museum  of  Montpelher. 

CHAVANNE,  Pierre  Salomon  Dombnchin  de. 
See  DoMENCHiN  de  Chavanne. 

CHAVARITO,  Domingo,  a  Spanish  historical 
painter,  was  born  in  Granada  in  1676,  and  there 
learned  the  rudiments  of  art  from  Josef  Risuefio. 
He  afterwards  went  to  Rome  and  studied  under 
Benedetto  Luti,  but  returned  to  his  native  city,  and 
died  there  in  1750.  His  works,  which  are  chiefly 
in  the  private  houses  of  Granada,  are  good  in 
colour  and  in  composition. 

CHAZAL,  Antoine,  a  French  painter  of  flowers 
and  of  portraits,  as  well  as  an  engraver,  was  born 
in  Paris  in  1793.  He  studied  under  Misbach, 
Bidauld,  and  Van  Spaendonck,  and  became  Pro- 
fessor of  Iconography  at  the  Jardin  des  Plantes. 
Besides  portraits,  flowers,  and  fruit,  he  painted  a 
few  landscapes  and  altar-pieces  for  churches.  He 
also  engraved  a  portrait  of  Cardinal  La  Fare. 
Chazal  died  in  Paris  in  1854. 

CHAZAL,  Charles  Camille,  a  French  painter, 
and  son  of  Antoine  Chazal,  was  born  in  Paris  in 
1825.  He  studied  under  Drolhng  and  Picot,  and 
entered  the  Ecole  des  Beauz-Arts  in  1842.  His 
;  Institution  of  the  Eucharist,'  painted  in  1863,  is 
in  the  church  of  St.  Louis-en-1'Ile  at  Paris  He 
died  in  1875. 

CHAZERAND,  Claude  Louis  Alexandre,  a 
French  historical  painter,  was  born  at  Besanyon 
m  1757.  The  Museum  of  his  native  city  has  some 
paintings  and  sketches  by  him  which  are  not  with- 
out merit.     He  died  at  Besanyon  in  1795. 

CHEDEL,  Quintin  Pierre,  a  French  designer 
and  engraver,  was  bom  at  Chalons-sur-Mame  in 
1705.  He  received  his  earliest  instruction  in  the 
studio  of  Le  Moine,  but  having  chosen  engraving 
as  his  profession,  he  afterwards  became  a  pupil  of 
Laurent  Cars.  His  talent  in  designing  and  engrav- 
ing vignettes  caused  him  to  be  much  employed  by 


the  booksellers  of  Paris.  His  plates  are  etched 
with  great  spirit,  and  sometimes  finished  with  the 
graver  in  a  style  of  unusual  ability.  He  died  at 
Paris  in  1762.  Among  his  numerous  works  the  best 
known  is  the  series  of  illustrations  after  Boucher 
to  Duclos'  romance,  'Acajou  et  Zirphile ' ;  the 
following  are  also  deserving  of  notice : 

SUBJECTS    FROM    HIS   OWN   DESIGNS. 

A  set  of  six  Landscapes ;  dedicated  to  Madame  de  Pom- 
padour. 

Six  plates  of  Battles;  dedicated  to  Count  Turpin  de 
Ceisse. 

The  Village  Wedding,  and  the  Village  Feast. 

Two  Lantlscapes  with  Euins,  called  'Les  Kuines  de 
Cumes.' 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

Four  of  Attacks  of  Cavalry  ;  after  Van  derMeulen. 

Four  of  Landscapes  with  Ruins ;  after  Boucher. 

Two  of  Sea-pieces  with  Fishermen  ;  after  A.  Willaerts. 

Day-break,  a  Landscape  ;  after  Teniers. 

A  Landscape,  figures  and  horses  ;  after  Wouwerman. 

A  Sea-port ;  after  the  same. 

The  "Writing  School ;  after  Ostade. 

The  Reading  School ;  after  the  same. 

CHEESMAN,  Thomas,  a  pupil  of  Bartolozzi, 
was  a  well-known  engraver,  who  was  born  in  1760. 
He  worked  both  in  stipple  and  in  mezzotint.  Among 
his  best  works  are  some  portraits  after  Romney,  and 
'The  Lady's  Last  Stake'  after  Hogarth.  He  also 
exhibited  water-colour  drawings  at  the  Academy. 
He  died  about  1820,  the  date  of  his  last  exhibition. 

CHELINI,  PlERO,  a  painter  of  Florence,  who  in 
the  15th  century  executed  frescoes  in  the  Bigallo  of 
that  city,  consisting  of  scenes  from  the  life  of  St. 
Peter  Martyr,  and  representations  of  the  reception 
of  lost  children  (the  purpose  of  that  building) ;  these 
he  completed  in  1444.  A  '  Burial  of  Christ '  in  the 
belfry  of  San  Remigio  is  also  by  him. 

CHENAVARD,  Aim6,  a  French  decorative 
painter  and  draughtsman,  was  born  at  Lyons  in 
1798.  He  published  '  Nouveau  Recueil  de  Decor- 
ations int^rieures,'  1833-35,  and  '  Album  de  I'Or- 
nemaniste,'  1835.     He  died  in  Paris  in  1838. 

CHENDA,  II.     See  Rivarola. 

CHENOIS,  Claude,  a  French  historical  painter, 
was  a  native  of  Lorraine,  and  flourished  at  Nancy 
in  1527.  The  Museum  of  that  city  possesses  a 
picture  by  him  which  shows  considerable  talent. 

CHENU,  AuGUSTiN  Fleury,  a  French  landscape 
painter,  was  born  at  Lyons  about  1835.  He  re- 
ceived his  art  education  in  the  Academy  of  his 
native  city,  and  became  a  successful  painter  of 
snow-scenes.     He  died  in  1875. 

CHENU,  Pierre,  was  a  French  engraver,  born 
in  Paris  in  1718.  He  was  a  pupil  of  P.  Le  Bas, 
and  engraved  several  portraits  and  other  subjects, 
in  a  slight,  agreeable  style.  Several  of  his  engrav- 
ings were  executed  for  the  work  on  the  Dresden 
Gallery.  He  likewise  engraved  some  of  Oudry's 
designs  for  La  Fontaine's  Fables,  and  some  plates 
after  Eisen  for  the  '  Christiade  '  of  the  Abb6  de 
La  Baume-Desdossat.  He  died  about  1780.  We 
have  also  by  him  the  following : 

portraits. 

Francis  I.,  King  of  France ;  after  Niecolb  dell'  Ahhate. 

Antoine  Perrenot,  Cardinal  de  Granvelle. 

I'ierre  Carlet  de  Champlain  de  Marivaux,  of  the  French 

Academy. 
Madame  Favart,  actress  ;  after  Garand. 
Bust  of  Diderot. 

Count  Caylus's  Monument  at  St.  Germain  I'Auxenois, 

287 


A  BIOGRAPHICAL  DICTIONARY  OP 


SUBJECTS   AFTKR   VARIOUS   MASTERS. 
The  Adoration  of  the  Shepherds  ;  after  Bassano. 
Christ  driring  the  Money-changers  from  the  Temple; 

after  the  same. 
The  ancient  Temple  at  Ephesus ;  after  Breetiberg, 
Kuins  at  Ephesus  ;  after  the  same. 
A  Landscape,  with  cattle  ;  after  A.  van  de  Veldt. 
The  Sailor's  Amusement ;  after  D.  Tenters. 
The  Dutch  Baker  ;  after  A.  Ostade. 
View  of  the  Castle  of  St.  Angelo  ;  after  Vernel. 

His  two  sisters,  Ther^se  and  Victoire  Chenu, 
also  received  lessons  from  Le  Bas,  and  engraved 
some  landscapes. 

CHEREAU,  Franqois,  a  French  engraver,  was 
born  at  Blois  in  1680.  He  was  a  pupil  of  Gerard 
Audran,  and  of  Pierre  Drevet,  the  elder,  and  proved 
himself  a  worthy  successor  of  these  masters.  He 
distinguished  himself  by  the  beauty  of  his  touch 
and  the  correctness  of  his  drawing,  particularly  in 
his  portraits,  some  of  which  are  admirable.  His 
portrait  of  the  Duke  of  Antin,  after  Rigaud,  which  he 
engraved  twice,  has  rarely  been  surpassed.  He  died 
in  Paris  in  1729.  The  number  of  his  plates  is  con- 
siderable, but  the  following  are  the  most  esteemed  : 

portraits. 

Louis  de  BouUongne ;  after  himself;  engraved  by  Chereau 
for  his  reception  into  the  Academy  in  1718. 

Nicolas  de  Largilliere,  painter  ;  after  himself. 

Cardinal  Audre  Hercule  de  Fleury  ;  after  Riyaud  ;  fine. 

Cardinal  Melchior  de  Polignac ;  after  the  soTne ;  very 
fine. 

Louis  Antoine  de  Pardaillan  de  Gondrin,  Duke  of  Antin  ; 
after  the  same. 

Nicolas  de  Launay  ;  after  the  same. 

Conrad  Detlev  von  Dehn  ;  after  the  same;  very  fine. 

Louis  Pecour,  Maitre  de  Ballet ;  after  Toumieres. 

Elisabeth  Sophie  Cheron,  painter  ;  after  herself. 

Louisa  Mary,  Princess  of  England  ;  after  A.  S.  Belle. 

The  Princess  Sobieska ;  after  Trinisani. 

SUBJECTS  AFTER  VARIOUS  MASTERS. 

St.   John   in  the   Wilderness ;   after  the   picture   by 

Raphael,  in  the  Orleans  Gallery. 
The  Crucifixion  ;  after  Guido. 
St.  Catharine  of  Siena ;  after  J.  Andre. 
St.  Cecilia  ;  after  Miyrtard. 
St.  Theresa  in  Contemplation. 
St.  Ignatius  de  Loyola,  Founder  of  the  Society  of  Jesus. 

CHEREAU,  Jacques,  the  brother  and  pupil  of 
Francois  Chereau,  was  born  at  Blois  in  1688.  He 
engraved  portraits  and  historical  subjects,  and  was 
little  inferior  to  his  brother,  but  he  did  not  execute 
many  plates,  having  quitted  the  graver  to  follow 
the  business  of  a  printseller.  He  came  to  England, 
but  not  meeting  with  much  encouragement,  he 
returned  to  France,  and  died  in  Paris  in  1776.  The 
following  are  his  best  works  : 

PORTRAITS. 

Marie  Leszczynska,  Queen  of  France ;  after  Van  Loo 

Madame  de  Sabr^u  ;  after  the  same. 

Madame  de  Prie ;  after  the  same. 

Henri,  Duke  of  Harcourt,  marshal  of  France ;  after 

Rigaud. 
Madame  de  Sevigne. 

George  I.,  King  of  Great  Britain  ;  profile, a/i(er  Kneller. 
Jeanne  d'Aragon,  Queen  of  Sicily  ;  after  Raphael. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  Holy  Family ;  after  Raphael ;  in  the  Crozat  Collec- 
tion. 

La  Belle  Jardiniere ;  after  the  same  ;  in  the  same  Collec- 
tion. 

The  Transfiguration  ;  after  the  same. 

David  with  the  Head  of  Goliath  ;  after  Teti;  very  fine. 

David  and  Bathsheba  :  after  Raoux. 
288 


Christ  washing  the  Feet  of  the  Apostles ;  after  IF. 

Bertin. 
Vertumnus  and  Pomona  ;  after  F.  Marot. 
The  Descent  from  the  Cross ;  after  Charpentier. 

Jacques  FRANgois  Chereau,  the  grandson  of 
Franfois  Chereau,  born  in  1748,  was  likewise  an 
engraver  and  printseller. 

CHERET.     See  Lachaume. 

CHERON,  Elisabeth  Sophie,  a  miniature 
painter,  was  the  daughter  of  Henri  Cheron,  and 
was  born  in  Paris  in  1647.  She  learnt  the  element- 
ary principles  of  design  from  her  father,  and  exe- 
cuted with  much  grace  portraits,  many  of  which 
were  of  ladies,  in  water-colour,  oil,  pastel,  and 
enamel;  her  colouring  being  pleasing  and  her 
draperies  well  handled.  She  produced  also  numer- 
ous drawings  of  bas-reliefs  and  cameos  after  the 
antique.  She  was  admitted  as  a  painter  into  the 
Academy  at  Paris  in  1672,  painting  her  own  por- 
trait upon  the  occasion,  and  into  that  of  Padua 
in  1699.  She  was  a  lady  of  some  literary  power, 
accomplished  as  a  musician  and  a  poetess.  It  is 
stated  that  she  was  enrolled  in  the  Academy  in  the 
latter  capacity  in  1676.  She  married,  in  1708, 
Jacques  Le  Hay,  an  engineer,  being  at  that  time  a 
member  of  the  Roman  Catholic  Church,  though  she 
had  been  brought  up  in  the  Protestant  religion. 
There  is  an  engraved  portrait  of  her  which  she 
executed  in  part  in  1694,  and  which  was  subsequent- 
ly finished  by  C.  Simonneau.  She  died  in  Paris  in 
1711.  She  has  left  us  some  59  plates  either  etched  or 
engraved,  among  which  may  be  mentioned  : 

The  Descent  from  the  Cross  (1710) ;  from  her  own 
painting  after  a  design  of  the  Abbe  Zumho. 

St.  Cecilia,  St.  Mary  Magdalen,  St.  Augustin,  St.  John, 
and  St.  Paul ;  after  Raphael. 

Four  plates  of  Gems  (two  dated  1710). 

A  drawing-book  of  thirty-six  prints ;  published  in  1706. 

CHARON,  Henri,  a  miniature  painter  and  en- 
graver, was  a  native  of  Meaux,  where  he  worked 
about  the  middle  of  the  17th  century.  We  have  but 
one  engraving  by  him ;  a  spirited  portrait  touched 
with  considerable  delicacy,  representing  Peter  Du- 
moulin,  a  Calvinist  Minister,  who  died  at  Sedan  in 
1658.  Henri  Cheron  was  the  father  of  Louis, 
!^lisabeth  Sophie,  and  Marie  Anne  Charon.  He 
died  at  Lyons  in  1677. 

CHERON,  Louis,  a  French  painter  and  engraver, 
was  born  in  Paris  in  1655.  He  was  instructed  by 
his  father,  Henri  Cheron,  and  went  to  Italy,  where 
he  studied  the  works  of  Raphael  and  Giulio  Romano. 
Returning  to  Paris  in  1688,  he  painted  for  the  cathe- 
dral of  Notre-Dame  two  pictures,  representing  the 
'  Prophet  Agabus  before  St.  Paul,'  and  '  Herodias 
with  the  Head  of  St.  John  the  Baptist.'  His  drawing 
is  correct,  but  his  colouring  is  cold  and  feeble,  and 
his  composition  tame  and  inanimate.  Being  a 
Calvinist,  the  religious  troubles  which  were  then 
rife  obliged  him  in  1695  to  leave  France,  when  he 
came  to  England,  and  was  employed  by  some  of 
the  nobility,  and  more  particularly  by  the  Duke  of 
Montagu,  for  whom  he  painted  some  ornamental 
works.  His  '  Diana  and  her  Nymphs  bathing '  has 
been  engraved  by  Baron  ;  and  his  picture  of  '  The 
Marriage  of  Charles  I.  and  Henrietta  Maria,'  by 
Dupuis.  He  died  in  London  in  1725.  This  artist 
engraved  some  plates  from  his  own  designs,  which 
are  for  the  most  part  well  drawn,  with  a  distinct 
attempt  at  Raphael's  style,  but  are  deficient  in 
general  effect,  the  smaller  plates  for  the  Psalms 
being  very  indifferent  works.    He  also  made  designs 


PAINTERS  AND  ENGRAVERS. 


for  an  edition  of  ■  Paradise  Lost '  published  in  1720. 
We  have  by  him : 

St.  Peter  healing  the  Lame  at  the  Gate  of  the  Temple. 

The  Death  of  Ananias  and  Sapphira. 

The  Baptism  of  the  Eunuch  by  St.  Phihp. 

Hercules  reposing  after  his  Labours  ;  fine. 

Hercules  .slaying  the  Wild  Boar :  finished  iy  Van  der 
Gucht. 

Twenty-three  subjects  for  his  .sister  Sophie's  poetical 
version  of  the  Psalms  of  David.    1694. 

CHERON,  Marie  Anne,  a  French  miniature 
painter,  and  sister  of  Elisabeth  Sophie  and  Louis 
Cheron,  was  born  in  Paris  in  1649.  She  was  by 
birth  a  Protestant,  but  in  1668  became  a  convert  to 
the  Roman  Catholic  faith.  In  1701  she  married 
the  painter  Alexis  Simon  Belle,  and  died  not  later 
than  1718. 

CHERPIGNON,  — ,  was  a  French  engraver, 
by  whom,  amongst  other  prints,  we  have  a  plate 
representing  the  '  Holy  Family,'  in  which  the  Virgin 
is  seated  with  the  Child  asleep  on  her  lap,  whilst 
St.  Joseph  leans  on  a  large  stone  behind  her ;  it  is 
after  a  picture  by  Laurent  de  La  Hyre.  It  is  etched 
in  a  free  and  spirited  style,  and  retouched  with 
the  graver  in  a  masterly  manner. 

CHERY,  Philippe,  a  French  historical  and  por- 
trait painter,  born  in  Paris  in  1759,  was  a  pupil  of 
Vien.  He  took  an  active  part  in  the  French  Revo- 
lution, was  wounded  at  the  siege  of  the  Bastille, 
and  on  the  18th  Brumaire  left  France,  to  which  he 
did  not  return  till  1802.  He  painted  'The  Annun- 
ciation '  in  the  church  of  Generville,  '  St.  Benedict 
receiving  the  Viaticum,'  and  two  other  religious 
subjects,  which  are  in  the  church  of  Boulogne-sur- 
Mer,  'St.  CecUia,'  in  the  Benedictine  Convent  in 
the  same  town,  and  several  other  scriptural  and 
religious  subjects.  He  also  painted  '  The  Treaty  of 
Amiens,'  for  which  he  received  the  prize  of  12,000 
francs  in  the  competition  in  the  year  XI. ;  '  The 
Death  of  the  Father  of  Louis  XVI.,'  exhibited  in 
1817;  'Thrasybulus  re-establishing  the  Democratic 
Government  at  Athens,'  which  passed  into  England, 
'The  Death  of  Alcibiades,'  'The  Birth  of  Venus,' 
'  The  Toilet  of  Venus,'  and  portraits  of  many  of 
the  men  of  mark  of  the  time.  He  died  in  Paris  in 
1838. 

CHESHAM,  Francis,  a  designer  and  engraver, 
was  born  in  1749,  and  died  in  London  in  1806.  We 
find  mention  of  the  following  plates  by  him  : 

Moses  striking  the  Rock  ;  after  his  otcn  desiijn. 

Distant  View  of  the  Iron  Mines  in  C'oalbrookdale  ;  after 
G.  Robertson.     1788. 

Several  Views  ;  after  Paul  Sandhy. 

Britannia ;  after  Cipriani. 

Admiral  Parker's  Victory  in  1781. 

CHESNE,  Nicolas  du.     See  Dd  Chesne. 

CHEVALIER,  Hippoltte  Guillaume  Sdlpice, 
better  known  as  Gavarni,  a  pseudonym  which  he 
appears  to  have  borrowed  from  the  place  from 
which  he  dated  his  first  designs,  was  born  in  Paris 
in  1804.  He  began  life  in  the  workshops  of  an 
engineer,  where,  showing  a  talent  for  drawing,  he 
was  employed  in  sketching  professional  plans  ;  but 
not  till  1835  did  he  exhibit  any  signs  of  his  future 
skill  as  a  caricaturist.  About  that  date  he  under- 
took the  editorship  of  '  Les  Gens  du  Monde,'  a 
series  of  satirical  sketches  of  Parisian  youth. 
He  aftersvards  conducted  the  '  Charivari,'  and 
came  to  England  in  1848  in  consequence  of  the 
French  Revolution.  Whilst  here  he  published  a 
series  of  sketches,  entitled  'Gavarni  in  London,' 
but  these  did  not  meet  with  any  great  success. 
He  was  one  of  the  most  clever  caricaturists  that 


has  ever  lived,  and  hit  ofE,  with  a  few  strokes  of  the 
pencil,  the  social  Ufe  of  Paris,  from  the  highest 
to  the  lowest  grade,  with  great  truth  and  skill. 
Among  his  works  we  may  mention  '  Les  Enfants 
Terribles,'  '  Les  Parents  Terribles,'  and  his  '  Maris 
Veng^s ; '  he  also  illustrated  some  of  Hoffmann's 
and  Schmidt's  tales  in  quite  a  different  style.  He 
died  at  Auteuil  in  1866. 

CHEVILLET,  Justus,  was  a  German  engraver, 
born  at  Frankfort-on-the-Oder  in  1729.  He  was 
first  a  pupil  of  G.  F.  Schmidt  at  Berlin,  but  after- 
wards went  to  Paris,  where  he  was  instructed  by 
J.  G.  Wille.  He  engraved  several  plates  of  sub- 
jects, principally  from  French  artists,  in  a  neat 
style.  He  died  in  Paris  in  1790.  We  have  by  him, 
amongst  others,  the  following  prints: 

Portrait    of    Jean    Baptiste    Simton    Chardin ;    after 

Chardin  ;  his  best  work. 
Portrait  of  M.  Lenoir  ;  after  Greuze. 
La  SantS  portee,  and  La  Sante  rendue  ;  after  Ter  Borch. 
A  Girl  sewing  and  another  spinning;  after  Heilmann. 
A  young  Girl  caressmg  a  bird;  after  a  drawina  by 

Wille. 
The  young  Coquette  ;  after  J.  Raoux. 
The  dangerous  Beauty  ;  after  Santerre. 
The  Death  of  General  Montcalm  ;  after  Watteau. 

CHEVREVILLE.  See  Langlois  de  Chevreville. 

CHEVRON,  BenoIt  Joseph,  a  French  line-en- 
graver, was  born  at  Lyons  in  1824.  He  was  a  pupil 
of  Vibert,  and  died  at  Villefranche  in  1875.  His 
best  plates  are  the  '  Kiss  of  Judas,'  after  Ary 
Scheifer,  the  '  Assumption  of  the  Virgin,'  after 
Guido  Reni,  and  the  '  Maison  Mame.' 

CHIALLI,  ViNCENZO,  was  born  at  Citta  di 
Castello  in  1787.  After  having  learned  the  rudi- 
ments of  art  in  that  town,  he  visited  Rome  at  the 
age  of  seventeen  years,  and  became  a  disciple  of 
Camuccini,  whom  he»  afterwards  imitated.  After 
leaving  Rome  he  painted  religious  subjects  at  Borgo 
San  Sepolcro,  Urbino,  Pesaro,  and  Venice,  from 
whence  he  retraced  his  steps  to  Rome  ;  but  as  the 
climate  did  not  suit  him,  he  left  that  city  in  1822 
and  returned  to  Citta  di  Castello.  He  became 
Director  of  the  School  of  Painting  at  Cortona  in 
1835,  and  died  in  1840.  His  genre  and  historical 
paintings  gained  him  considerable  credit.  The  most 
important  are : 

The  Rfa"'"'"^*'"^ '  }  *"'*  '"  '**  -^''"'  ^"^""^  "'  Florence. 

Dante  in  the  Abbey  of  Fonte  Avellana. 

Raphael  and  Fra  Bartolommeo  in  the  Convent  of  San 

Marco. 
The  young  Raphael  with  his  Parents. 

CHIAPPE,  Giovanni  Battista,  was  born  at 
Novi  in  1723.  After  studying  some  time  at  Rome, 
he  settled  at  Milan,  where,  according  to  the 
Cavaliere  Ratti,  he  painted  some  pictures  which 
gave  promise  of  great  ability.  His  best  work  was 
in  the  church  of  Sant'  Ignazio  at  Alessandria, 
representing  '  St.  Ignatius  with  a  Glory  of  Angels,' 
grandly  conceived  and  composed,  the  figure  of  the 
Saint  commanding  and  majestic,  and  of  a  fine  ex- 
pression. This  artist  died  in  the  midst  of  a  flatter- 
ing career  in  1765 ;  and  with  him,  says  Lanzi, 
perished  the  last  remains  of  Genoese  art. 

CHIARI,  Fabrizio,  a  painter  and  engraver,  was 
bom  at  Rome,  according  to  Orlandi,  in  1621.  He 
painted  some  frescoes  in  the  palaces  at  Rome,  and 
died  in  1695.  We  have  some  etchings  by  this 
artist  after  N.  Poussin,  executed  in  a  scratchy  but 
masterly  style,  amongst  which  are  : 

Mars  and  Venus,  in  a  landscape ;  Fabritius  Clams.   1635. 
Venus  and  Adonis ;   signed   ificolaus  Fussinus  in.  f. 

289 


A  BIOGRAPHICAL  DICTIONARY  OF 


This  etching  has  becD  attributed  to  N.  Poussin,  but 
it  is  by  Chiari. 
Venus  and  Mercury,  with  Children. 

CHIARI,  Giuseppe,  was  born  at  Rome,  in  1654. 
He  was  a  scholar  of  Carlo  Maratti,  with  whom  he 
executed  many  excellent  easel  pictures,  and  added  to 
the  unfinished  works  of  Berrettini  in  Santa  Maria 
del  SufEragio  at  Rome,  the  '  Nativity '  and  the 
'  Adoration  of  the  Magi.'  His  cabinet  and  easel 
pictures  are  preferable  to  his  larger  works,  although 
he  painted  several  frescoes  of  religious,  historical, 
and  mj'thological  subjects  in  the  Colonna  and 
Barberini  palaces,  and  on  the  ceiling  in  Santa  Maria 
di  Montesauto.  In  the  Spada  Palace  are  four  pic- 
tures by  him  of  subjects  from  Ovid  ;  in  the  Dresden 
Gallery  is  an  '  Adoration  of  the  Magi ; '  and  his  own 
portrait  by  himself  is  in  the  Uffizi,  Florence.  Three 
examples  of  his  art  are  at  Hampton  Court,  and  in 
the  collection  of  Lord  Scarsdale  at  Kedleston  Hall, 
is  a  '  Holy  Trinity.'     He  died  at  Rome  in  1727. 

CHIARINI,  Marcantonio,  was  bom  at  Bologna 
in  1652,  and  was  first  a  scholar  of  Francesco 
Quaino,  under  whom  he  remained  four  years ;  he 
afterwards  studied  under  Domenico  Santi.  He  ex- 
celled in  painting  architectural  views,  in  which  the 
figures  were  sometimes  introduced  by  Sigismondo 
Caula.  He  was  much  employed  by  the  nobiUty 
at  Bologna,  Modena,  and  Milan ;  and  his  pictures 
were  in  great  estimation.  He  assisted  Carlo  Carlone 
in  his  decorative  fresco  paintings  in  the  Marble 
Hall  of  the  Belvedere,  Vienna.     He  died  in  1730. 

CHIAVEGHINO,  II.     See  Mainardi. 

CHIAVISTELLI,  Jacopo,  a  Florentine  painter 
of  perspective  and  architectural  views,  was  bom  in 
1618.  He  first  studied  under  Fabrizio  Boschi  and 
B.  del  Bianco  ;  but  he  received  his  best  instruction 
from  Michelangelo  Colonna.  He  painted  chiefly 
in  fresco,  and  was  employed  in  several  works  at 
Bologna  and  Florence,  particularly  in  the  palace  of 
the  Grand-Duke.  He  died  in  1698.  His  own  por- 
trait by  himself  is  in  the  Uffizi,  Florence. 

CHIBOUST,  — ,  was  a  French  engraver,  who 
flourished  about  the  year  1680.  He  etched  a  plate, 
representing  Dutch  Boors  playing  at  cards,  which 
was  probably  from  his  own  design,  as  it  is  signed, 
Chihousl  fecit.  There  are  also  by  him  a  '  Repose,' 
and  various  landscapes  engraved  after  J.  F.  Millet, 
and  other  artists. 

CHIESA,  SiLVESTBO,  an  Italian  historical  painter, 
was  born  at  Genoa  about  1623.  He  was  a  pupil  of 
Luciano  Borzone,  and  when  not  more  than  eighteen 
years  of  age  had  gained  a  great  reputation  by  his 
portraits,  which  were  often  painted  from  memory. 
He  gave  promise  of  becoming  a  great  artist,  when 
he  was  cut  off  by  the  plague  at  Genoa  in  1657. 

CHIESE,  Giovanni  della.     See  Della  Chiese. 

CHIFFELIN,  Olivier,  a  distinguished  historical 
painter  of  the  15th  century.  He  was  a  native  of 
Angers,  and  was  commissioned  in  1487  hy  Philippe 
de  Commines  to  decorate  his  chftteau  of  Dreux, 
the  chapel  of  which  has  been  described  in  the 
most  glowing  terms. 

CHILD,  James  Warren,  a  miniature  painter, 
exhibited  for  many  years  at  the  Royal  Academy. 
His  chief  sitters  were  actors  and  actresses,  fie 
died  in  1862,  aged  84. 

CHILDE,  Elias,  a  landscape  painter,  exhibited 
at  the  Society  of  British  Artists  from  1824  to  1848. 
He  also  contributed  to  the  exhibitions  of  the  Water- 
Colour  Society  and  the  Royal  Academy.  A  moon- 
light composition  by  him  is  in  the  South  Kensing- 
ton Museum. 
290 


CHIMENTl,  Jacopo,  called  Jacopo  da  Empoli, 
was  born  at  Empoli,  near  Florence,  in  1554. 
He  was  a  disciple  of  Tomaso  Manzuoli  da  San 
Priano,  whose  style  is  discernible  in  all  his  works; 
he  also  studied  the  works  of  Andrea  del  Sarto, 
whom  he  copied  with  success.  His  pictures  pos- 
sess an  elegance  of  design,  and  a  graceful  impasto 
of  colouring,  which  distinguish  the  productions  of 
his  master.  The  Abbate  Moreni  speaks  in  favourable 
terms  of  his  fresco  works  in  the  Certosa,  and  in  the 
monastery  of  Boldrone  at  Florence,  but  a  fall  from 
the  scafEolding  obliged  him  afterwards  to  confine 
himself  to  oil-painting.  One  of  his  best  pictures  is 
his  '  St.  Ives,'  in  the  Uffizi  at  Florence,  which,  from 
its  pleasing  and  graceful  effect,  is  more  generally 
admired  than  works  of  higher  pretensions.  He 
died  in  1640.  The  following  are  among  his 
paintings : 
Florence.     Academy.     The  Call  of  St.  Matthew. 

„     &?.  Annuiiziata.  Virgin  and  Saints. 

„  •Sf.  Maria  Novella.  St.  Hyacinth. 

„  Casa  Buonarroti.  Michelangelo    before    Leo     5. — 
Fresco. 

„  Uffi^.       St.  Ives,  Protector  of  Orphans. 

„  „  His  own  Portrait. 

Madrid.         Museum.     Christ  on  the  Mount  of  Olives. 
Paris.  Louvre.       Virgin  glorified. 

Pistoia.     5.  Domenico.  Miracles  of  St.  Charles  Borromeo. 
Vienna.  Susanna  at  the  Bath. 

CHINNERY,  George,  exhibited  portraits  at  the 
Royal  Academy  from  1791  to  1846.  He  at  one 
time  resided  in  Dublin,  and  in  1798  was  elected  a 
member  of  the  Royal  Hibernian  Academy.  He 
etched  some  portraits,  which  show  much  ability, 
and  made  spirited  sketches  of  scenes  in  India  and 
China,  where  he  lived  for  nearly  fifty  years.  He 
died  at  Macao  about  1850. 

CHINTREUIL,  Antoine,  a  French  landscape 
painter,  was  born  at  Pont-de-Vaux  (Ain)  in  1816. 
He  showed  an  early  taste  for  drawing,  and  took  to 
teaching  it  in  order  to  support  his  family.  Later 
on  he  opened  a  bookshop  in  Paris  and  continued 
his  drawing  work  in  the  evenings,  till  meeting  with 
assistance  from  Beranger  he  was  able  to  establish 
himself  in  Toumelle  Septeuil  near  Nantes,  and 
devote  himself  entirely  to  his  art.  He  painted, 
although  only  self-taught,  landscapes  remarkable 
not  merely  for  originality  but  also  for  deep  feeling. 
He  fell  a  victim  to  over-exertion  in  his  youth, 
combined  with  disappointment  at  the  difficulty  he 
experienced  in  finding  purchasers  for  pictures 
which  now  realize  very  high  prices.  Amongst  his 
works  may  be  noticed  '  Morning  in  the  Country,' 
'  A  Shower  on  the  Plain,'  '  Entrance  to  a  Wood,' 
and  'After  a  Storm.'  Two  landscapes  by  him 
are  in  the  Lille  Museum.     He  died  in  1873. 

CHIODAROLO,  Giovanni  Maria,  a  Bolognese 
painter,  was  living  in  the  15th  century.  Little 
further  is  known  of  him  than  that  the  fresco  of 
'  An  Angel  crowning  St.  Valerian  and  St.  Cecilia,' 
executed  about  1509,  in  the  oratory  of  St.  Cecilia, 
attached  to  San  Giacomo  Maggiore,  in  Bo'ogna,  is 
by  tradition  assigned  to  him.  It  is  part  of  a  series, 
the  rest  of  which  were  done  by  Francia,  Aspertini, 
and  Costa.  A  '  Nativity '  in  the  Bologna  Gallery 
is  also  ascribed  to  Chiodarolo. 

CHIRINOS,  Juan  de,  a  Spanish  painter,  was 
born  at  Madrid  in  1564.  He  was  probably  a 
scholar  of  El  Greco,  and  painted,  in  conjunction 
with  Bartolom6  de  Cardenas,  the  greater  part  of 
the  pictures  in  the  convent  of  Our  Lady  of  Atocha, 
at  Madrid.  He  was  an  artist  of  great  merit,  and 
died  at  Madrid  in  1620. 


PAINTERS  AND  ENGRAVERS. 


CHISHOLM,  Alexander,  was  born  at  Elgin 
in  the  year  1792  or  1793,  and  at  an  early  age  was 
apprenticed  by  his  father  to  a  weaver  at  Peterhead. 
He  had  a  great  aversion  to  the  trade,  and  his  predi- 
lection for  art  was  so  strong  that  he  was  accus- 
tomed to  sketch  figures  upon  the  cloth  on  which  he 
was  occupied  at  the  loom,  and  wlien  his  leisure  per- 
mitted him  to  resort  to  the  sea-shore,  he  found  great 
pleasure  in  sketching  on  the  smooth  sand.  When 
about  fourteen  years  of  age,  he  walked  from  Peter- 
head to  Aberdeen,  where  he  received  his  first 
lessons  in  light  and  shade.  At  this  time  there  was 
a  meeting  of  the  Synod,  the  members  of  which  he 
was  permitted  to  sketch  ;  and  his  work  gave  such 
satisfaction,  that  he  was  forthwith  commissioned 
to  paint  it,  but  this  he  was  compelled  to  decline, 
as  he  was  totally  ignorant  of  the  use  of  colours. 
He  must  have  employed  his  leisure  profitably,  for 
when  about  twenty  years  of  age  he  went  to  Edin- 
burgh, where  he  was  patronized  by  the  Earls 
of  Elgin  and  Buchan,  and  was  subsequently  ap- 
pointed an  instructor  at  the  Royal  Scottish  Aca- 
demy. In  1818  he  went  to  London,  still  under  the 
patronage  of  the  Earl  of  Buchan,  and  met  with 
much  encouragement.  In  1829  he  became  an 
Associate  Exhibitor  of  the  Water-Colour  Society 
and  frequently  sent  works  to  that  Institution.  His 
favourite  department  of  art  was  history,  but  he  also 
painted  portraits  with  eminent  success.  Having 
suffered  from  severe  illness  during  nine  years  be- 
fore his  death,  his  later  productions  do  not  exhibit 
that  degree  of  vigour  which  characterize  his 
earlier  works.  '  The  Pedlar,'  a  water-colour  paint- 
ing by  him,  is  in  the  South  Kensington  Museum. 
He  died  at  Rothesay,  in  the  Isle  of  Bute,  in  1847. 
The  following  are  some  of  his  most  important 
works  exhibited  at  the  Royal  Academy  : 

Boys  with  a  Burning  Glass.     1822. 

The  Cut  Foot.     1823. 

Baptism  of  Ben  Jonson's  Daughter  {with  portraits  of 

iS'hakespeare,  Jomoti,  Beaumont,  Fletcher  and  Rateiah). 

1837. 
The  Lords  of  the  Congregation  taking  the  oath  of  the 

Covenant.     1842. 
The   Minister  and   his  Wife  concealing  the   Scottish 

Eegalia  in  the  Church  (his  last  work).     1846. 

CHODOWIECKI,  Daniel  Nicolaus,  a  painter 
and  engraver,  was  born  at  Dantzic  in  1726.  He 
was  obliged  at  first  to  devote  himself  to  shopkeep- 
ing,  and  could  only  practice  drawing  and  painting, 
which  he  did  in  company  with  his  brother  Gott- 
fried, in  his  leisure  moments — both  of  them  having 
received  some  instruction  from  their  father.  His 
progress  at  last  enabled  him  to  follow  these  studies 
alone.  He  took  to  copying  engravings  and  then 
to  painting  enamel  snuff-boxes,  in  which  he  was 
aided  by  Haid  the  Pole,  and  in  which  he  made 
experiments  with  designs  of  his  own.  He  then  in 
1745  tried  miniature-painting  ;  his  portraits,  which 
were  remarkable  for  their  characteristic  resemblance 
and  lifelike  qualities,  meeting  with  a  favourable  re- 
ception in  all  quarters.  At  this  time  he  improved 
himself  by  practising  drawing  in  Rode's  studio, 
and  then  turned  his  attention  to  oil  painting.  Thus 
far  he  had  only  the  nights  to  devote  to  these  employ- 
ments. His  first  essay  in  etching  was  made  in 
1758.  His  etchings  were  drawn  with  such  spirit 
that  they  soon  attracted  the  attention  of  connois- 
■ieurs,  and  when  he  had  painted  the  '  Separation  of 
Jean  Calas  from  his  family,'  and,  in  accordance 
with  the  wishes  of  bis  friends,  had  made  an 
atching  from  that  picture,  his  fame  was  fairly 
U  2 


established.  Orders  from  amateurs  and  dealers 
became  so  numerous  that  he  was  obliged  to  aban- 
don his  miniature-painting.  The  Academy  of 
Painting  received  him  as  its  Rector  in  1764.  In 
1773,  he  made  a  journey  on  horseback  to  Dantzic, 
taking  sketches  of  whatever  there  might  be  of 
interest  on  the  route.  On  this  journey,  and  during 
nine  weeks  spent  in  Dantzic,  he  kept  a  diary  with 
drawings,  preserved  in  the  Berlin  Academy,  which 
presents  a  most  life-like  picture  of  the  then  social 
condition  of  that  city.  On  his  return  he  received 
commissions  from  Lavater,  for  whom  he  executed 
many  designs  and  some  copper-plate  engravings 
for  his  '  Essays  on  Physiognomy. '  His  fame  spread 
so  wide  that  it  was  with  the  greatest  difficulty 
that  he  could  meet  the  demands  of  the  book- 
sellers for  drawings  and  engravings  for  books  and 
almanacks.  The  number  of  paintings,  designs,  and 
etchings  which  he  produced  at  this  period  was  some- 
thing prodigious.  This  severe  labour  was  injurious 
to  his  health,  and  during  the  last  twenty  years  of 
his  life  he  suffered  from  swollen  feet — but  that  did 
not  prevent  his  following  his  ordinary  pursuits. 
He  became  Vice-Director  of  the  Academy  in  1788, 
and  Director  in  1797.  He  was  active  and  laborious 
up  to  within  a  few  weeks  of  his  death,  which  took 
place  at  Berlin  in  1801.  The  Berhn  Museum  con- 
tains '  Blindman's  Buff  '  and  '  Der  Hahnenschlag.' 
both  of  the  year  1768. 

Chodowiecki  was  a  highly-gifted  artist,  wlio 
owed  all  his  knowledge  of  art  to  his  own  study. 
This  lack  of  instruction  was  the  real  cause  why 
works  on  a  larger  scale  lay  beyond  the  limits  of 
his  artistic  sphere,  but  the  same  reason  led  to  his 
smaller  works  being  so  carefully  finished.  The 
genuine  originality  displayed  in  them,  and  a  cer- 
tain easy  spiritual  rendering,  stamp  most  of  his 
works  with  a  peculiar  character.  He  represents 
the  feelings  and  affections,  virtues  and  vices,  just 
as  he  had  observed  them  around  him,  with  singular 
acuteness.  Not  unfitly  has  he  been  spoken  of  as 
the  great  depictor  of  the  morals  of  his  day.  His 
productions  are  not  disfigured  by  anything  in  the 
way  of  excess  or  defect.  His  drawings  are  marked 
by  delicate  but  at  the  same  time  firm  and  clear 
outlines,  the  shadows  being  worked  in  with  a  light 
hand,  but  well  defined.  His  early  works  in  enamel 
are  small  masterpieces  in  respect  of  finish,  and 
are  full  of  life,  grace,  and  cheerfulness.  The  same 
holds  true  of  his  miniatures.  His  performances 
in  oil  painting  scarcely  went  beyond  the  range  of 
experiments.  As  an  engraver  of  small  subjects  he 
stands  almost  unsurpassed.  He  was  the  founder 
of  a  new  style,  representing  modern  figures  with 
such  truth  and  animation,  and  at  the  same  time 
with  such  correctness  of  outline,  as  had  till  then 
never  been  thought  possible  on  so  small  a  scale. 
Apart  from  single  plates,  he  illustrated  with  designs 
of  his  own  composition  the  principal  literary  pro- 
ductions of  his  time,  such  as  '  Minna  von  Barnbelm,' 
'The  Vicar  of  Wakefield,'  'Gellert's  Fables,'  'Gil 
Bias,'  Schiller's  '  Robbers,'  Sterne's  '  Sentimental 
Journey,'  as  well  as  '  Don  Quixote,'  and  the  works 
of  Shakespeare  and  Voltaire. 

Ohodowiecki's  etchings  and  engravings  amount  to 
2075  distinct  works  upon  978  plates.  They  are  fully 
described  in  Engelmann's  'Daniel  Ohodowiecki's 
Saramtliche  Kupferstiche '  published  at  Leipsic  in 
1857-60.  Among  his  principal  plates  may  be 
mentioned : 

Jean  Calas  bidding  farewell  to  his  Wife.     1767-8. 

Frederick  the  Great,  accompanied  by  Peace ;  rare. 

291 


A  BIOGRAPHICAL  DICTIONARY  OF 


A  Keview  at  Potsdam.    1777. 

Sixteen  plates  for  the  Life  of  Bunkel. 

The  Progress   of  Virtue,  and    the    Progress  of  Vice. 

Twelve  plates  for  the  Gottingen  Almanac  in  1773. 
Wilhelm  TeU. 

Ziethen  seated  before  the  King. 
Ziethen  asleep  at  the  Table  of  Frederick  II. 
The  Painter's  Studio. 
The  Artist's  own  Family.     1771. 

CHODOWIECKI,  GoTTFKiED,  a  painter  and 
engraver,  and  a  brother  of  Daniel  Chodo-n-iecki, 
was  born  at  Dantzic  in  1728.  He  painted  land- 
scapes, battle  scenes,  hunting  pieces,  and  animal 
subjects  in  miniature  and  in  enamel.  He  also 
etched  plates  from  the  designs  of  his  brother, 
as  well  as  from  his  own.  He  died  at  Dantzic  in 
1781. 

CHODOWIECKI,  WiLHELM.  the  son  of  Daniel 
Chodowiecki,  was  born  in  1765.  He  was  a  pupil 
of  his  father,  and  followed  his  style  with  consider- 
able success :  in  fact,  the  father  published  many 
of  his  son's  plates  \rith  his  own  name  attached  to 
them.     He  died  at  Berlin  in  1805. 

CHOFFARD,  Pierre  Philippe,  a  French 
draughtsman  and  engraver,  was  born  Ln  Paris  in 
1731.  Whilst  still  very  young  he  showed  great 
aptitude  for  drawing  flowers  and  ornaments,  and 
was  placed  with  an  engraver  of  maps  named 
Dheulland,  but  he  afterwards  received  lessons 
from  Babel,  an  engraver  of  ornaments,  and  is  said 
to  have  had  also  the  benefit  of  the  advice  of  Nicolas 
Edelinck,  Balechou,  and  Cochin.  Commencing 
with  the  cartouches  of  maps,  which  date  from  1753 
to  1756,  he  next  engraved  invitation  and  address 
cards  and  book-plates,  and  these  drew  attention  to 
his  abilities  and  secured  for  him  the  commission  to 
execute  the  tail-pieces  for  the  celebrated  edition  of 
the  'Contes'  of  La  Fontaine  published  by  the 
Fermiers-Generaux  in  1762.  The  fertility  of  in- 
vention and  the  taste  displayed  by  the  artist  in 
these  gems  of  art  are  known  and  admired  by  all. 
The  series  ends  with  his  own  portrait  in  profile  as 
the  tail-piece  of  '  Le  Rossignol.'  To  these  suc- 
ceeded, among  a  host  of  minor  pieces,  the  large 
ornaments  placed  at  the  head  of  each  book  of  the 
Ovid's  '  Metamorphoses  '  of  1767-1771,  the  head- 
pieces to  Saint-Lambert's  poem,  '  Les  Saisons,' 
issued  in  1769,  and  again  with  some  alterations  in 
1775,  those  to  Imbert's  poem,  'Le  Jugement  de 
Paris,'  1772,  and  the  tail-pieces  to  Desormeaus's 
'  Histoire  de  la  liaison  de  Bourbon,'  published  in  the 
years  1779-1788.  All  these  combined  to  establish 
his  reputation  as  a  designer  of  ornament  without  a 
rival.  Besides  these,  the  ornamental  pieces  which 
he  executed  for  the  '  Voyage  pittoresquede  Naples 
et  de  Sicile '  of  Saint-Non,  published  in  1781,  and 
the  plates  of  '  Les  Amants  surpris,'  '  Les  Amours 
champetres,'  and  '  Marchez  tout  doux,  parlez  tout 
bas,'  after  Baudouin,  and  a  view  of  Narbonne, 
after  Monnet,  must  be  ranked  among  his  best 
works. 

ChofEard  wrote  in  1804  a  '  Notice  historique  sur 
I'art  de  la  Gra^ure,'  and  was  about  to  undertake 
a  more  extensive  work  when  he  was  struck  down 
by  death  at  Paris  in  1809.  MM.  Portalis  and 
Beraldi  give  in  their  '  Graveurs  du  Dix-huitieme 
Siecle '  a  detailed  catalogue  of  his  engravings, 
which  number  855.  jj,  e.  G. 

CHOLLET,  Antoine  Joseph,  a  French  engraver 

in  line  and  mezzotint,  was  born  in  Paris  in  1793. 

He  was  the  son  of  an  architect,  and  studied  imder 

Bervic  in  Paris.    He  gained  considerable  reputation 

292 


by  the  excellence  of  his  plates,  amongst  which  may 
be  noticed : 

Christ  crowned  with  Thorns ;  after  Colin. 
The  Orphan  ;  after  Rohn.     1822. 
'  tTai  perdu  ; '  after  the  same.     1824. 
Galileo  in  the  inquisition  ;  after  Laurent.     1827. 
The  Proposal;  after  Geirnaert.     1837. 
The  Last  Cartridge  ;  after  Horace  J'ernet.     1830. 
Mile.  Leontine  Fay,  as  Mahina  ;  after  Ditbufe. 
Portrait  of  Mme.  de  Warens ;   after  (?)  Desenne  and 
Deveria. 

CHOQUET,  Louis,  a  French  draughtsman  and 
miniature  painter,  was  a  pupil  of  Aubry.  He 
produced  illustrations  for  the  works  of  Le  Sage, 
Marraontel,  Florian,  Fielding,  &c.  He  died  about 
1825. 

CHRETIEN,  GiLLES  Louis,  a  French  musician, 
was  bom  at  Versailles  in  1754.  In  1787  he  in- 
vented a  machine  called  a  '  physionotrace,'  -with 
which  he  took  portraits  in  profile  from  life,  which 
were  reduced  to  silhouettes,  usually  by  Fouquet, 
and  then  engraved  in  aquatint  by  liimself.  Many 
of  them  are  of  great  interest  on  account  of  the 
celebrity  of  the  persons  represented,  '  L' Incorrupt- 
ible Robespierre,'  Mirabeau,  and  Marat  being  among 
the  hundreds  which  he  produced.  Ed  me  Quenedey 
was  at  first  associated  with  him,  but  Chretien 
afterwards  worked  alone.  He  died  in  Paris  in 
1811. 

CHRIEGER,  Christoph,  called  in  Italian  Cris- 
TOFORO  GuEBRA,  was  a  native  of  Nuremberg,  who 
went  to  Venice  and  died  there  in  1589.  He  exe- 
cuted a,magnificent  engraving  on  wood,  representing 
the  sea-fight  at  Lepanto.  Tlie  design  is  cut  on 
two  blocks  of  wood,  in  the  form  of  an  oval,  about 
two  feet  long,  by  sixteen  inches  in  height.  It  was 
published  at  Venice  in  1572,  by  Cesare  Vecellio,  a 
relation  of  Titian,  who  is  supposed  to  have  made 
the  design.  Chrieger  also  engraved  on  wood  the 
420  illustrations  of  costumes  for  Veceliio's  '  Habiti 
antichi  et  moderni  di  Diuerse  Parti  del  Mondo,' 
published  at  Venice  in  1590. 

CHRIST,  Joseph,  a  painter  of  Winterstetten, 
executed  portraits  and  frescoes  in  Augsburg  and 
St.  Petersburg  in  the  18th  century. 

CHRISTFELD,  Philipp,  a  porcelain-painter, was 
born  in  1797  at  Frankenthal,  in  the  Palatinate,  and 
placed  when  young  in  the  porcelain  manufactory 
there.  He  afterwards  pursued  academical  studies 
at  Nymphenburg,  and  then  devoted  himself  to  the 
painting  of  porcelain,  and  later  still  to  the  pro- 
dnction  of  fac-similes  of  celebrated  gallery  pieces. 
He  died  at  Munich  in  1874. 

CHRISTIE.  Alesan'I'ER,  who  was  bom  at  Edin- 
burgh in  1807,  entered  the  Trustees'  Academy  in 
1833,  and  after  studying  for  a  short  time  in  London, 
settled  in  his  native  city.  In  1843,  he  was  made 
assistant,  and  two  years  later  director,  of  the  orna- 
mental department  of  the  Trustees'  Academy.  He 
was  elected  an  Associate  of  the  Scottish  Academy 
in  1848,  and  died  in  1860.  He  painted  portraits 
and  subject-pieces. 

CHRISTISON,  Mart  Stmpson,  an  English  por- 
trait and  subject  painter,  was  born  about  1850. 
She  was  tne  eldest  daughter  of  Mr.  Charles  Tovey, 
a  Bristol  merchant,  and  niece  of  Samuel  GrifiSlhs 
Tovey,  who  gained  a  local  reputation  by  his  Vene- 
tian pictures.  She  received  instruction  at  the 
South  Kensington  and  Bristol  Schools  of  Art  and 
at  the  Royal  Academy.  In  1878  she  married  Mr. 
Robert  Christison  and  went  to  Queensland,  where 
she  died  at  Lammermoor  in  1879. 


PAINTERS  AND  ENGRAVERS. 


CHRISTOPHE,  Claude,  a  French  historical  and 
portrait  painter,  who  flourished  at  Nancy  in  the 
early  part  of  the  18th  century,  was  a  native  of 
Verdun.  He  studied  under  Rigaud,  and  gave  up- 
wards of  two  hundred  pictures  to  the  poor  churches 
of  Lorraine. 

CHRISTOPHE,  Joseph,  the  brother  of  Claude 
Christophe,  was  born  at  Verdun  in  1662.  In  1696 
he  painted  as  a  "  mai  "  for  Notre-Dame  the  '  Mira- 
cle of  the  Loaves  and  Fishes.'  He  was  received 
into  the  Academy  in  1702,  and  in  1724  became 
painter  to  the  Archduke  Leopold,  for  whom  he 
executed  many  portraits.  At  Versailles  there  is  by 
him  '  The  Baptism  of  the  Dauphin,  son  of  Louis 
XIV.'     He  died  in  Paris  in  1748. 

CHUPPIN,  M^DARD,  a  French  historical  painter, 
flourished  at  Nancy  from  1542  to  1580.  He  was  a 
pupil  of  Hugues  de  La  Fare,  whose  picture  of  the 
'Last  Supper,'  in  the  church  of  the  Cordeliers  at 
Nancy,  he  finished  with  credit  to  himself  after  the 
death  of  his  master.  He  worked  almost  always  in 
conjunction  with  Claudin  Crocx.  He  was  painter 
to  the  Duke  of  Lorraine,  as  were  likewise  Charles 
CHnppiN,  his  son,  and  Nicolas  Chupfin,  his 
brother. 

OHDRCH,  Frederick  Edwin,  American  land- 
scape painter,  bom  in  Hartford,  Connecticut,  May 
4,  1826.  He  became  a  pupil  of  Thomas  Cole  in 
Catskill,  where  he  worked  several  years  before 
establishing  himself  in  New  York  city.  His 
pictures  attracted  much  notice,  and  he  became 
a  full  member  of  the  National  Academy  in  1849. 
In  1853  and  1857  he  travelled  in  South  America, 
and  exhibited  his  large  picture,  '  The  Heart  of  the 
Andes,'  in  1859,  which  created  a  sensation.  Later 
he  visited  Labrador,  and  his  '  Icebergs  '  was  shown 
in  London  in  1863.  Three  years  later  he  went  to 
the  West  Indies,  and  in  1868  made  his  first  trip 
through  Europe,  going  also  to  Palestine  and 
Greece,  where  he  painted  some  important  pictures. 
His  best-known  work  is  that  of  '  The  Great  Falls 
at  Niagara'  (1857),  which,  originally  purchased  by 
John  Taylor  Johnstone,  was  bought,  at  the  sale  of 
his  collection  in  1876,  by  the  Corcoran  Art  Gallery 
in  Washington  for  £5000.  This  picture  was 
awarded  a  second-class  medal  at  the  Paris  Exhibi- 
tion of  1867.  He  was  a  great  admirer  of  Turner, 
whose  influence  can  be  traced  in  many  details  of 
his  work.  He  died  in  New  York  on  April  7, 
1900.  P.  p. 

CHURCHMAN,  John,  was  a  miniature  painter, 
who  died  in  London  in  1780. 

CIAFFERI,  Pietro,  called  Lo  Smaegiasso,  was 
born  at  Pisa  about  1600,  and  flourished,  according 
to  Lanzi,  about  the  year  1654.  He  belongs  to  the 
Florentine  school,  and  painted  marine  subjects  and 
seaports,  which  his  residence  at  Leghorn  enabled 
him  to  study  from  nature.  His  pictures  are  highly 
finished,  and  ornamented  with  small  figures  cor- 
rectly drawn.  He  also  paitited  architectural  and 
perspective  views,  and  sacred  subjects.  His  works 
are  principally  at  Pisa  and  Leghorn.  An  '  Ecce 
Homo '  by  him  is  in  the  Pitti  Palace,  Florence. 

CIALDIERI,  GiROLAMO,  was  born  at  Urbino  in 
1593,  and  was  a  scholar  of  Claudio  Ridolfl.  He 
painted  several  pictures  at  Rome  for  the  churches. 
His  best  work  is  the  '  Martyrdom  of  St.  John,'  in 
San  Bartolommeo.     He  flourished  about  1640. 

CIAMBERLANO,  Ldca,  was  bom  at  Urbino 
about  the  year  1580.  In  the  early  part  of  his  life 
he  applied  himself  to  the  study  of  civil  law,  in 
which  he  had   taken  a  doctor's  degree,  when  he 


abandoned  the  study  of  jurisprudence  to  devote 
himself  to  painting  and  engraving,  particularly  the 
latter.  From  1599  to  1641  he  resided  at  Rome, 
where  he  executed  a  great  number  of  plates  from 
his  own  designs,  as  well  as  after  the  works  of  the 
most  celebrated  Italian  painters,  in  the  style  of 
Agostino  Carracci.  His  plates,  amounting  to  114, 
are  entirely  executed  with  the  graver,  which  he 
handled  with  neatness  and  intelligence ;  his  draw- 
ing of  the  figure  is  tolerably  correct.  He  some- 
times signed  his  plates  with  his  name,  and  some- 
times marked  them  with  the  cipher  ^. 
Among  them  are  the  following : 

Thirteen  plates  of  Chri.st  and  the  twelve  Apostles: 
St.  Jerome  dead,  lying  upon  a  stone  ;  after  Raphael. 
St.  Thomas  ;  after  Bassano.  Nine  plates  of  Angels 
carrying  the  instruments  of  the  Passion.  Duke 
Francesco  Maria  II.  of  Urbino.  Christ  on  the  Momit 
of  OUves;  after  A.  Casolano.  Christ  appearing  to 
Mary  Magdalen ;  after  Federicjo  Barocci,  1609. 
Christ  appearing  to  St.  Theresa ;  after  Carracci. 

CIAMPELLI,  Agostino,  was  born  at  Florence  in 
1578.  He  was  educated  under  Santo  Titi,  and 
went  afterwards  to  Rome,  where  he  distinguished 
himself  by  his  efi'orts.  He  was  employed  by  Pope 
Clement  VIII.,  and  executed  several  paintings  in 
the  Lateran  and  Vatican  palaces.  In  the  church 
of  Santa  Maria  in  Trastevere  is  a  '  Dance  of  Angels,' 
and  in  Santa  Pudenziana  is  a  picture  representing 
'Holy  Women  interring  the  bodies  of  the  Martyrs.' 
In  the  Jesuit  Church  are  two  of  his  finest  works 
in  fresco,  the  '  Martyrdom  of  St.  Andrew,'  and  in 
the  ceiling  a  'Glory  of  Saints  and  Angels.'  In 
San  Prassede  he  painted  in  oil,  for  his  patron  the 
Cardinal  de'  Medici,  the  '  Crucifixion  ' ;  and  in  San 
Stefano  di  Pescia  is  his  celebrated  picture  of  the 
'  Visitation  of  the  Virgin  to  St.  Elizabeth,'  with 
two  wings.     He  died  at  Rome  in  1640. 

CIARLA,  Raffaello,  a  painter  of  Urbino,  flour- 
ished about  the  middle  of  the  16th  century,  and 
excelled  in  painting  majolica  vases,  which  were 
especially  admired  at  the  Spanish  Court.  He  was 
so  skilful  in  imitating  the  great  masters,  that  his 
works  have  often  been  confounded  with  those  of 
Raphael.  The  identity  of  Christian  name  and  of 
birthplace  have  doubtless  had  much  to  do  with  this 
confusion.     He  was  a  pupil  of  Orazio  Fontana. 

CIARPI,  Baccio,  was  born  at  Florence  in  1578, 
and  was  a  scholar  of  Santo  Titi.  He  was  a  good 
painter  of  historical  subjects,  of  which  he  gave 
proof  in  his  works  in  the  Chiesa  della  Concezione 
of  the  Capuchins  at  Rome.  Ciarpi  was  the  in- 
structor of  Pietro  da  Cortona.  He  died  in  1642. 
CIARTRES.  See  Rasset. 
CIBOT,  FEAN901S  Barth^lemy  Michel  Edoh- 
ARD,  a  French  historical  and  landscape  painter,  was 
born  in  Paris  in  1799.  His  masters  were  Gueriu 
and  Picot.  His  most  important  work  is  the  series 
of  paintings  representing  '  Charity,'  in  the  church 
of  St.  Leu  at  Paris.  About  1853  he  applied  him- 
self to  landscape  painting.  He  died  in  Paris  in 
1877.     Amongst  his  best  works  are  : 

The  Loves  of  the  Angels,  1835.  Regina  Coeli,  1848 
St.  Theresa,  1847.  Convicts  in  1788,  1836.  Chest- 
nut-trees at  Aulnay,  1855.  Park  at  Orsay,  1857. 
The  GoufFre,  near  Seineport,  1864.  {In  the  Luxem- 
bourg Gallery.)     View  at  Soisy-sur-Ecolle,  1865. 

CICCIO.    See  Solimena. 

CICERI,  Bernardino,  was  born  at  Pavia  in  1650, 

293 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  was  one  of  the  ablest  scholars  of  Carlo  Sacchi. 
He  afterwards  passed  some  time  at  Rome  ;  and  on 
his  return  to  his  native  city,  met  with  encourage- 
ment in  painting  historical  pictures  of  a  small  size. 
He  was  also  employed  for  the  churches. 

CICERI,  Pierre  Luc  Charles,  a  French  artist, 
born  at  St.  Cloud  in  1782,  was  chiefly  engaged  as 
an  architectural  decorator  and  painter  of  theatrical 
scenes.  He  is  stated  to  have  executed  four  hundred 
opera  decorations.  He  also  produced  some  paint- 
ings in  water-colour,  among  which  are  views  of 
the  Ponte  di  Sanita  and  Piazzetta  della  Cappella 
Vecchia  in  Naples,  and  of  Interlacken,  Brunnen, 
and  Baden-Baden.  Ciceri  married  a  daughter  of 
Jean  Baptiste  Isabey,  the  miniature  painter,  and 
died  at  St.  Cheron  in  1868. 

CIENNI  DI  Francesco  di  Seb  Cienni.  See 
Cennini. 
CIERINCX  (or  Cierings).  See  Kierincx. 
CIERKENS,  Jean,  a  Belgian  painter  of  histori- 
cal and  genre  subjects,  was  born  at  Bruges  in  1819. 
He  studied  in  the  Academy  of  his  native  city,  and 
under  Wallays  and  Wappers  at  Antwerp.  He  died 
at  Rome  in  1853. 

CIETENER,  D.,  was  a  painter  who  from  his 
style  appears  to.  have  belonged  to  the  Flemish 
school.  There  is  in  the  Berlin  Gallery  the  '  Bom- 
bardment of  a  Fortified  Town,'  which  is  signed  by 
him,  and  dated  1630. 

CIEZA,  Josef  de,  the  son  and  scholar  of  Miguel 
Geronimo  de  Cieza,  was  born  at  Granada  in  1656. 
He  acquired  much  facility  in  painting  in  distemper, 
and,  going  to  Madrid  in  1686,  was  employed  to 
paint  scenes  in  the  theatre  of  Buenretiro,  and 
became  painter  to  the  king  in  1689.  He  likewise 
painted  in  oil  historical  subjects,  landscapes,  and 
flower-pieces.     He  died  at  Madrid  in  1692. 

CIEZA,  Miguel  Geronimo  de,  a  Spanish  painter, 
born  at  Granada,  was  one  of  the  best  scholars  of 
Alonso  Cnno,  whom  he  imitated  both  in  drawing 
and  in  colour.  He  painted  historical  pictures  with 
reputation,  and  according  to  Palomino,  his  best 
works  are  in  the  Convent  of  the  Angel,  and  in  the 
Hospital  of  the  Corpus  Domini,  at  Granada.  He 
died  in  Granada  at  an  advanced  age  in  1677. 

CIEZA,  ViNCENTE  de,  a  Spanish  painter,  and  a 
native  of  Granada,  was  the  son  and  pupil  of  Miguel 
Geronimo  de  Cieza.  Having  lost  his  father  he 
went  to  Madrid  to  his  elder  brother  Josef,  whom 
he  succeeded  as  painter  to  the  king  in  1692.  He 
returned  to  Granada  in  1701,  and  died  there  soon 
after  his  arrival.  His  works  are  confounded  with 
those  of  his  father  in  Granada,  and  with  those  of 
his  brother  in  Madrid. 

CIGNANI,  Conte  Carlo,  a  distinguished  painter 
of  noble  family,  of  the  Lombard  School,  was  born 
at  Bologna  in  1628.  He  was  of  an  honourable 
family,  and  his  first  essays  in  the  art  were  some 
drawings  he  attempted  after  the  pictures  in  his 
father  s  collection.  He  was  first  placed  under  the 
tuition  of  Giambattista  Cairo,  but  he  afterwards 
entered  the  academy  of  Francesco  Albani,  and 
became  the  most  celebrated  of  his  disciples.  The 
works  of  Correggio  and  the  Carracci  had  an  m- 
fluence  in  the  formation  of  his  style.  On  his  return 
to  Bologna,  he  was  emploved"  by  the  Cardinal 
iamese  to  ornament  the  great  saloon  of  the  palace 
at  Bologna,  where  he  painted  his  celebrated  work 
of  the  '  Entry  of  Pope  Paul  III.  into  Bologna,'  and 
the  Passage  of  Francis  I.'  through  that  city.  He 
afterwards  visited  Leghorn  and  Rome,  where  he 
Ha  ^®*"'  "^""^^  ^^''^'^  *'™^  ^^  painted 


among  other  works  two  pictures  for  the  church  of 
Sant'  Andrea  della  Valle,  representing  subjects 
from  the  life  of  that  Saint ;  and  several  pictures 
of  Venus.  On  his  return  to  Bologna  he  was  em- 
ployed in  the  execution  of  some  important  works 
in  San  Michele  in  Bosco  ;  they  represent  scenes 
taken  from  the  time  of  the  Plague,  and  are  in 
the  style  of  Correggio,  painted  in  ovals,  supported 
by  angels  of  extraordinary  beauty,  and  are  held 
amongst  the  most  admired  features  of  that  city. 
He  also  executed  several  paintings  for  the  nobility: 
amongst  others,  for  the  Archbishop  of  Milan,  a 
'  Holy  Family ;  '  for  Prince  Adam  of  Liechtenstein, 
'Cupid,'  'Bacchus,'  'Danae,'  and  a  'Virgin  and 
Child.'  After  decorating  the  gallery  of  Duke 
Ranuccio  II.  at  Parma,  he  was  knighted  by  that 
prince  and  by  the  Pope.  Other  important  works 
by  him  are,  '  The  Virgin  treading  on  the  head  of  a 
Serpent,'  for  the  cathedral  at  Piacenza ;  '  Joseph 
tempted  by  Potiphar's  Wife,'  for  the  Marquis  Pal- 
lavicini ;  '  Hagar  and  Ishmael,'  for  the  King  of 
Poland  ;  '  The  Descent  from  the  Cross,'  and  '  Christ 
as  a  Gardener,'  for  Louis  XIV.  The  great  monu- 
ment of  his  fame  is  the  cupola  of  the  duomo  at 
Forli,  which  occupied  him  from  1686  to  1706.  It 
represents  the  '  Assumption  of  the  Virgin,'  an  im- 
mense work  of  the  highest  merit.  Aiter  having 
finished  this  grand  composition,  he  was  elected 
senator  of  that  town,  and  Clement  XI.  appointed  him 
president  of  the  newly-founded  Clementine  Academy 
at  Bologna.  Such  was  the  attachment  of  his  pupils 
to  Cignani,  that,  whilst  he  was  still  working  at 
Forli,  they  followed  him  there,  where  his  instruc- 
tions were  continued  until  his  death  in  1719. 
During  the  latter  period  of  his  life,  he  painted 
among  other  pictures  '  Aurora,'  for  the  Marquis 
d'Albiccini;  'Adam  and  Eve,'  for  the  Cardinal 
Spinola ;  '  The  Birth  of  the  Virgin,'  for  Clement 
XI.  ;  '  John  the  Baptist  as  a  Child,'  and  '  Jupiter 
nursed  by  the  goat  Amalthea,'  for  the  Elector- 
Palatine  John  William.  The  following  are  some 
of  his  best  works : 


Berlin. 

Jfusevm. 

Tenus  and  Anchises. 

Copenhagea. 

Gallery. 

Joseph  and  Potiphar's  Wife. 

yt 

j> 

Tarquin  and  Lucretia. 

_          >• 

11 

Holy  Fami]y. 

Dresden. 

Gallery. 

Joseph  and  Potiphar's  Wife. 

Dulwich. 

Gallery. 

The  Magdalen. 

Florence. 

rji=i- 

His  own  Portrait. 

)» 

5» 

Madonna  and  Child. 

Hague. 

Gallery. 

Temptation  of  Adam  and  Eve 

Munich. 

Pinakothek. 

The  Infancy  of  Jupiter. 
The  Assumption  of  the  Virgin 

Petersburg. 

Hermitayc. 

Charity. 

Vienna. 

Madonna  and  Child. 
The  Roman  Charity. 

His  paintings  may  also  be  found  at  Hampton 
Court  and  in  the  collection  of  the  Duke  of  Devon- 
shire at  Chatsworth.     He  died  at  Forli  in  1719. 

Cignani's  powers  were  more  profound  than 
prompt;  he  conceived  his  subject  with  facility,  but 
he  found  diflSculty  in  finishing  it  to  his  satisfaction. 
Though  his  works  always  seem  finished,  they  have 
nothing  of  the  appearance  of  labour.  In  his 
design  he  emulated  Correggio,  without  arriving  at 
the  grandeur  and  vagueness  of  contour  that  are 
peculiar  to  his  unrivalled  model.  In  his  colouring 
he  resembles  rather  the  suavity  of  Guido  than  the 
tender  blending  of  Correggio.  Like  the  Carracci, 
he  possessed  a  faculty,  by  means  of  extraordinary- 
relief,  of  making  his  figures  appear  larger  than 
they  really  are.     He  excelled  in  painting  women 


CIMABUE 


Alinari  photo] 


[Sta.  Maria  Novella,  Florence 


THE  MADONNA  AND  CHILD 


PAINTERS  AND  ENGRAVERS. 


and  children,  in  which  to  something  of  the  grace 
of  Albani,  he  added  a  more  elevated  character. 

CIGNANI,  Felice,  the  son  and  scholar  of  Carlo 
Cignani,  was  born  at  Bologna  in  1660.  Under  the 
able  instruction  of  his  father,  and  endowed  with 
a  natural  disposition  for  the  art,  he  became  a 
painter  of  considerable  ability.  Enriched  by  an 
ample  fortune  left  him  by  his  father,  he  appears 
to  have  exercised  the  art  rather  as  his  inclination 
prompted  him,  than  as  a  regular  professor.  In 
the  Church  of  the  Carita  at  Bologna  is  a  picture 
by  him  of  the  '  Virgin  and  Infant  Jesus,  with 
St.  Joseph,  and  St.  Anthony  of  Padua;'  and  at 
the  Cappuccini,  a  much-admired  picture  of  '  St. 
Francis  receiving  the  Stigmata.'     He  died  in  1724. 

CIGNANI,  Paolo,  the  nephew  and  scholar  of 
Carlo  Cignani,  was  born  at  Bologna  in  1709.  Lanzi 
mentions  in  favourable  terms  a  picture  by  this 
painter  at  Savignano,  '  St.  Francis  appearing  to  St. 
Joseph  of  Copertino.'  The  subject  is  represented 
by  candle-light  with  a  fine  effect ;  the  figures  are 
well  designed  in  the  style  of  the  antique.  He  died 
in  1764. 

CIGNAROLI,  GiAMBETTiNO,  was  born  at  Salo, 
near  Verona,  in  1706.  He  first  studied  under  Santo 
Prunato  at  Venice,  but  gained  further  improve- 
ment by  travelling  an  the  Venetian  States  and 
Lombardy,  and  by  copying  the  works  of  Paolo 
Veronese  and  Correggio.  He  may  be  ranked 
among  the  best  painters  of  the  modern  Venetian 
school.  Although  he  was  invited  to  several  of 
the  courts  in  Italy,  he  preferred  a  residence  at 
Venice.  At  Pontremoli  is  an  admirable  picture 
by  him  of  'St.  Francis  receiving  the  Stigmata.' 
Lanzi  extols  as  one  of  his  finest  pictures  the 
'  Plight  into  Egypt,'  in  Sant'  Antonio  Abbate,  at 
Parma.  The  grave  and  dignified  beauty  of  the 
Virgin,  and  the  angelic  character  of  the  cherubs 
that  are  their  guides,  partake  of  the  charming  ex- 
pression of  Carlo  Maratti,  although  unequal  to  that 
master  in  unity  of  effect  and  harmony  of  colour- 
ing. His  backgrounds  are  ingeniously  composed 
of  well-chosen  architecture  and  pleasing  landscape, 
and  his  subjects,  usually  devout,  are  enlivened  by 
groups  of  cherubs  and  angels,  which  he  introduced 
with  the  happiest  effect.  He  was  the  founder,  and 
in  1769  the  director,  of  the  Academy  at  Verona. 
He  died  at  Verona,  in  1770.  Among  his  principal 
works  are: 

Madrid.      Museum.       Assumption  of  the  Virgin. 
Venice.       Gallery.        The  Death  of  Rachel  (a  replica  is 

in  the  Lille  Museum). 
Verona.      Museum.      The  Triumph  of  Pomponius. 

„  Cathedral.     The  Transfiguration. 

Vienna,       Gallery.      Madonna  and  Child,  with  SS. Ottilia 
and  Peter  Martyr. 

CIGNAROLI,  Martino,  was  bom  at  Verona  in 
1649,  and  studied  in  the  school  of  Carpioni,  under 
whom  he  became  an  able  artist  in  landscapes  of  an 
easel  size.     He  died  at  Milan  in  1726. 

His  brother,  Pietro  Cignaroli,  who  was  also  a 
painter,  was  born  at  Verona  in  1665,  and  died  at 
Milan  in  1720. 

CIGNAROLI,  SciPlONE,  the  son  of  Martino,  re- 
ceived his  first  instruction  from  his  father,  and 
afterwards  went  to  Rome,  where  he  became  a 
scholar  of  Tempesta.  He  was  a  successful  imitator 
of  the  style  of  his  master,  and  of  the  works  of  G. 
Poussin  and  Salvator  Rosa.  His  pictures  are  chiefly 
at  Milan  and  Turin. 

CIGOLI.     See  Cardi. 

CIMA  DA  CONEGLIANO.      See  CONEGLIANO. 


CIMABUE,  Giovanni,  who  was  of  a  noble  family, 
was  born  at  Florence  in  1240.  He  is  extolled  by 
Vasari  as  having  shed  the  first  light  on  the  art  of 
painting,  and  the  title  of  the  '  Father  of  Modern 
Painting'  has  been  bestowed  upon  him.  Most 
writers,  however,  now  agree  in  regarding  him  as 
the  last  of  the  old,  rather  than  the  first  of  the  new, 
line  of  painters  in  Italy  ;  for  although  he  undoubt- 
edly infused  a  certain  amount  of  new  life  into  the 
old  worn-out  types,  he  never  quite  rid  himself  of 
the  dismal  asceticism  of  the  Byzantine  School,  and 
therefore  can  scarcely  be  placed  on  a  level  with 
his  great  contemporary  Niccolo  Pisano,  who  really 
gave  the  new  impulse  that  art  received  at  this  time, 
an  impulse  that  was  carried  on  by  Cimabue's  pupil 
Giotto,  and  transmitted  by  him  through  all  the 
great  line  of  Italian  artists. 

Vasari  states  that  he  was  educated  in  the  Convent 
of  Santa  Maria  Novella,  and  was  trained  in  art  by 
certain  Greek  masters  who  had  been  invited  to 
Florence  to  paint  the  chapel  of  the  Gondi  in  Santa 
Maria  Novella ;  but  as  this  church  was  not  built 
until  Cimabue  was  about  forty  years  of  age,  this 
could  not  well  have  been  the  case.  There  were, 
however,  many  native  painters  in  Italy  at  this  time, 
and  from  some  of  these  he  probably  received  in- 
struction. Of  Cimabue's  works  by  far  the  most 
important  is  the  famous  colossal  Madonna  still 
preserved  in  the  church  for  which  it  was  painted 
— Santa  Maria  Novella.  This  Madonna  was  so 
admired  by  Cimabue's  contemporaries  that  they 
carried  it,  according  to  Vasari,  in  festive  procession 
through  the  streets.  It  was  the  largest  altar-piece 
that  had  as  yet  been  painted,  and  in  many  respects 
is  important  in  the  history  of  art.  The  expression 
of  the  Virgin,  thaugh  doleful,  is  different  from  the 
hard  staring  grief  depicted  by  preceding  artists, 
and  the  Child  stretches  out  his  two  fingers  in  bene- 
diction in  quite  a  natural  manner.  The  little 
medalions  of  apostles  and  saints  on  the  frame  are 
especially  worthy  of  notice.  In  this  work  indeed 
distinct  progress  is  visible,  but  this  was  a  late 
work  of  the  artist ;  a  Madonna  in  the  Florentine 
Academy,  and  others  in  the  Louvre  at  Paris  and 
in  the  National  Gallery,  scarcely  attain  to  the 
same  degree  of  improvement. 

Besides  his  Madonnas  and  other  altar-pieces, 
Cimabue  was  doubtless  the  master  who  executed 
many  of  the  wall-paintings  in  the  church  of  St. 
Francis,  at  Assisi.  "  Of  Cimabue's  presence  at 
Assisi,"  Messrs.  Crowe  and  Cavalcaselle  pronounce 
that  "  there  is  not  the  slightest  reason  to  doubt," 
but  it  is  very  dilfioult  to  assign  precisely  his  portion 
of  the  artistic  work  accomplished  there.  This 
church  has  a  peculiar  interest  in  the  history  of  Art, 
for  the  whole  progress  of  painting  in  the  13th  and 
14th  centuries  may  be  studied  on  its  walls.  It  was 
built  as  an  Upper  and  Lower  Church  during  the 
first  half  of  the  13th  century,  when  the  worship  of 
St.  Francis,  the  Patron  Saint  of  Poverty,  had  grown 
to  be  second  only  to  that  of  Christ.  It  was  first 
decorated  by  the  rude  artists  of  that  early  day,  and 
probably,  amongst  others,  by  Giunto  Pisano ;  but 
Cimabue  appears  to  have  had  the  superintendence 
of  all  the  paintings  executed  there  in  his  time. 
Vasari  indeed  assigns  tlie  whole  of  the  paintings 
of  the  walls  and  the  vaulted  roof  of  the  Lower 
Church  to  him  and  "  certain  Greek  masters  "  whom 
he  "  greatly  surpassed  ;  "  but  it  is  more  probable 
that  he  merely  painted  the  south  transept.  All 
his  paintings  in  the  Lower  Church  have  perished, 
but  some  still  remain  in  the  Upper  Church  that  are 

295 


A  BIOGRAPHICAL  DICTIONARY  OF 


assigned  to  him  with  every  probability  of  truth. 
According  to  Vasari  the  whole  series  of  the  History 
of  the  Virgin,  and  of  Jesus  Christ,  together  with 
the  eight  historical  subjects  from  the  Old  Testa- 
ment, were  all  painted  by  Cimabue ;  but  modem 
writers  find  in  these  paintings  the  work  of  many 
diiferent  hands.  In  this  church,  which  seems  to 
have  been  a  sort  of  training  ground  for  most  of 
the  artists  of  that  time,  we  may  see  the  progress 
that  Italian  art  had  just  begun  to  make,  tracing 
the  development  from  Giunto  Pisano  to  Cimabue, 
and  from  Cimabue  to  Giotto. 

Vasari  speaks  of  Cimabue  having  painted  a  small 
picture  of  St.  Francis  "  from  nature,"  not  meaning 
from  St.  Francis  himself,  who  had  long  been  dead, 
but  from  the  living  model,  "which  was  a  new  thing 
in  those  times."  This  likeness  still  exists  in  the 
church  of  Santa  Croce,  but  its  authenticity  is  rendered 
doubtful  by  its  being  placed  amongst  other  works 
that  are  attributed  to  Cimabue  without  any  reason- 
able foundation.  Cimabue  probably  died  in  1302, 
in  which  year,  according  to  Ciampi,  he  was  engaged 
upon  a  mosaic  in  the  Duomo  of  Pisa,  which  he  left 
unfinished.  He  was  buried  in  the  church  of  Santa 
Maria  del  Fiore  in  Florence,  and  the  following 
epitaph  was  afterwards  composed  upon  him  by  one 
of  the  Nini : 

"  Credidit  ut  Cimabos  picturse  castra  tenere. 
Sic  tenuit,  Tivens ;  nunc  tenet  astra  poll." 

This  probably  was  written  in  allusion  to  the  well- 
known  lines  in  Dante's  '  Purgatoria,'  and  not  as 
Vasari  puts  it. 

Some  critics  question  as  to  whether  works  attri- 
buted to  Cimabue  should  not  rather  be  given  to 
Duccio  the  Sienese  artist,  and  say  there  has  been 
some  confusion  between  the  histories  of  these 
two  men,  but  there  is  every  probability  that  the 
old  Tuscan  school  before  Giotto  was  very  similar 
in  the  two  cities. 

BibUography  :  Vasari,  '  Vite  de'  piu  eccellenti 
Pittori,  &c.,'  Crowe  and  Cavalcaselle ;  P.  Angeli, 
'  Storia  della  Basilica  d'Assisi ' ;  and  '  Painters  of 
Florence,'  Mrs.  Ady,  1900. 

CIMAROLI,  GiAMBiTTiSTA,  a  Venetianlandscape 
painter,  who  was  bom  at  Salo  on  the  lake  of  Garda, 
flourished  from  1718  to  1733.  He  was  a  pupil  of 
Antonio  Calza,  and  it  is  conjectured  that  Zuccarelli 
may  have  taken  lessons  from  him,  as  his  early  pic- 
tures have  some  resemblance  to  those  of  Cimaroli, 
but  with  less  warmth.  The  cattle  and  figures 
introduced  are  of  the  same  character.  His  pictures 
are  not  uncommon  in  England,  though  his  name  and 
works  are  confounded  with  those  of  the  Cignaroli. 

CIMATORI,  Antonio,  called  II  Visacci,  an 
Italian  historical  painter,  was  a  native  of  Urbino. 
He  flourished  in  the  16th  century,  and  excelled  in 
chiaroscuro  and  in  pen-and-ink  drawings. 

CIMOX,  an  early  Greek  monocbromist  of  Cleonae, 
appears  to  have  flourished  in  the  latter  part  of  the 
9ili  century  B.C.,  but  his  date  cannot  be  determined 
with  any  certainty.  He  seems  to  have  been  the 
first  to  attempt  to  place  the  figure  in  difi'erent 
attitudes,  so  as  to  displa}'  the  joints,  the  veins  of 
the  body,  and  the  drapery.  He  may  therefore  be 
considered  the  first  painter  of  perspective. 

CINCINNATO,  Diego  Romulo,  and  Francisco 
RoMULO,  were  the  sons  and  pupils  of  Romolo  Cin- 
cinnato.  Diego  was  sent  to  Rome  by  Philip  IV., 
where  he  paint«d  for  that  monarch  the  portrait  of 
Urban  VIIL,  by  whom  he  was  knighted,  and  pre- 
sented with  a  gold  medal  and  chain.  He  was 
296 


principally  engaged,  as  was  his  brother  Francisco, 
in  painting  portraits.  Diego  died  at  Rome  in  1625, 
and  Francisco  in  the  same  city  in  1635. 

CINCINNATOi  RoMOLO,  a  Florentine  painter, 
who  was  bom  at  Florence  in  1502,  and  was  a  pupil 
of  Francesco  Salviati.  In  1567  he  was  invited  by 
Philip  II.  to  Spain,  where  he  passed  the  greater 
part  of  his  life.  He  was  employed  in  the  Escorial, 
where  he  painted  in  fresco  a  part  of  the  great 
cloister,  and  in  the  church  two  pictures  representing 
'  St.  Jerome  reading,'  and  the  same  saint  preaching 
to  his  disciples  ;  as  well  as  two  subjects  from  the 
life  of  St.  Lawrence.  For  the  church  of  the 
Jesuits  at  Cuen^a,  he  painted  in  1572 — 8  his  most 
esteemed  work,  the  '  Circumcision,'  now  in  the 
Academy  of  St.  Ferdinand  at  Madrid.  He  also 
painted  some  mythological  subjects  in  fresco,  in 
the  palace  of  the  Duke  of  Inf  antado,  at  Guadalajara. 
Other  works  by  him  are  in  the  Academy  of  Madrid, 
viz.: — 'The  Transfiguration'  after  Raphael,  in  oil; 
two  pictures  of  '  St.  Peter '  and  '  St.  Paul '  ;  and  a 
fresco  painting  of  '  St.  Lawrence.'  He  died  at  an 
advanced  age  in  1600. 

CINERICIUS,  Philippus,  is  the  name  of  an  en- 
graver by  whom  the:  i  are  two  small  plates  repre- 
senting St.  Dominic  and  St.  Peter  Martyr,  dated 
1516.  He  appears  to  have  been  a  monk  of  the 
Dominican  order,  and  was  probably  of  German 
origin,  the  name  Cinericius  being  the  Latin  equiva- 
lent of  Ascher.  The  style  of  his  engravings  is 
entirely  that  of  the  Italian  school  of  the  com- 
mencement of  the  16th  century.  See  Passavant's 
'  Peintre-Graveur,'  v.  228. 

.  ClONE,  Andrea  di,  who  was  bora  at  Florence 
in  1308  ('?),  is  commonly  called  Orcagna,  (supposed 
to  be  a  corruption  of  "  Arcagnuolo,")  the  name 
given  to  him  by  his  contemporaries.  His  father, 
a  goldsmith,  instructed  him  in  the  rudiments  of  his 
art ;  in  1343  he  was  registered  in  the  Florentine 
Painters'  Guild,  and  nine  years  later  he  became 
master  in  the  Guild  of  the  Stone-Cutters.  Between 
1350  and  1357,  in  conjunction  with  his  elder 
brother,  Leonardo  (more  commonly  called  Nardo), 
he  painted  in  the  Strozzi  Chapel  in  Santa  Maria 
Novella,  Florence.  The  frescoes,  the  '  Last  Judg- 
ment,' '  Paradise,'  and  an  altar-piece  of  the  year 
1367,  by  Andrea,  and  'Hell,'  by  Nardo,  though 
much  damaged  by  damp  and  restoration,  still 
remain.  For  the  same  chapel  he  painted,  in  1354, 
an  altar-piece  of  the  '  Saviour  enthroned  with 
Saints  and  Angels.'  Early  in  1358  Orcagna  went 
to  Orvieto,  where  he  worked  at  intervals  until 
1361. 

The  death  of  Orcagna  is  now  usually  placed  in 
136S,  and  accordingly  1308  is  given  as  the  year 
of  his  birth,  for  he  is  said  to  have  been  sixty  years 
old  when  he  died. 

If  the  year  1368  be  correct,  it,  of  course,  robs 
hhn  of  th'e  authorship  of  any  works  executed  sub- 
sequent to  that  date.  Amongst  the  paintings 
fomierly  ascribed  to  him,  but  now  assigned  to  other 
masters,  are  the  great  frescoes  in  the  Campo  Santo 
at  Pisa,  representing  the  '  Triumph  of  Death,'  the 
'  Last  Judgment,'  and  '  Hell,'  which  are  thought  to 
be  of  Sienese  workmanship,  similar  to  that  of  the 
Lorenzetti. 

Orcagna  was  also  a  sculptor  and  architect  On 
his  sculptures  he  wrote,  "  Fece  Andrea  di  Clone, 
Pittore  "  ;  on  his  paintings,  "  Fece  Andrea  di  Clone, 
Scultore."  The  'Tabern.icie  with  medallions  illus- 
trating the  life  of  the  Blessed  Virgin  Mary  in  Or 
San  Miohele,  Florence,  built  to  enclose  a  miraculous 


G.   B.  CIPRIANI. 


CUPIDS  ON  A  GOAT 


PAINTERS  AND  ENGRAVEES. 


picture,  and  finished  in  1359,  is  liis  most  notable 
work.  It  is  a  white  marble  shrine  with  spiral 
columns  and  pinnacles,  rising  almost  to  the  roof  of 
the  church,  and  is  studded  with  jewels  and  enamels 
of  marvellous  beauty.  The  following  paintings 
by  him  still  remain  : 

Tloience.  S.  Maria  JVovella.  Altar-piece  (1357),  Frescoes 
of  Paradise  and  of  The 
Last  Judgment. 
London.  National  Gall,  Coronation   of    the    Virgin 

{an  a/tar-piece  in  twelve 
divisions  :  painted  for  S. 
Fietro  MayyioreyFlorcnce). 

CIONE,  Leonardo  di,  architect  and  painter,  the 
elder  brother  of  Orcagna,  is  usually  known  by  the 
name  of  Nabdo,  whioh  was  supposed  formerly 
to  be  the  diminutive  of  Bernardo,  but  is  now  said 
to  stand  for  Leonardo.  If  this  be  so,  the  works 
signed  "  Bemardus  de  Florentia  " — «.  g.  a  triptych  in 
the  Florentine  Academy,  a  '  Virgin  and  Saints  '  in 
the  Ognissanti  at  Florence,  &c. — usually  ascribed  to 
Orcagna's  elder  brother,  cannot  be  by  his  hand. 
But  the  Strozzi  Chapel,  in  Santa  Maria  Novella, 
Florence,  still  possesses  frescoes  which  he  is  known 
to  have  executed  in  conjunction  with  Orcagna.  He 
flourished  about  1350-1360. 

CIOR,  PiEHRE  Charles,  a  French  painter  of 
historical  subjects,  portraits,  and  miniatures,  was 
bom  in  Paris  in  1769.  He  was  a  pupil  of  Bauzin, 
and  became  miniature  painter  to  the  king  of  Spain. 

CIPPER.     See  Zipper. 

CIPRIANI,  Galgano,  an  Italian  line-engraver, 
was  born  at  Siena  in  1775.  He  entered  the  school 
of  Eaffaelle  Morghen,  and  was  professor  success- 
ively at  the  Academies  of  Naples  and  Venice.  His 
best  plates  are  '  St.  Peter  and  St.  Paul,'  after  Guido 
Reni,  and  '  St.  John  in  the  Wilderness,'  after  Titian. 

CIPRIANI,  Giovanni  Battista,  a  painter  ana 
etcher,  was  bom  at  Florence  in  1727.  He  was  of 
a  good  family  of  Pistoia.  He  attended  the  school 
of  Ignatius  Hugford,  an  Englishman  settled  in 
Florence,  where  he  was  a  fellow-pupil  of  Bartolozzi. 
In  1750  he  went  to  Rome  for  improvement,  and 
after  his  return  to  Florence,  he  painted  the  organ- 
screen  for  the  church  of  the  convent  of  Santa 
Maria  Maddalena  de'  Pazzi.  In  1755  he  came  to 
England,  whither  his  reputation  had  preceded  him. 
It  was  at  a  period  when  the  talents  of  Bartolozzi, 
the  engraver,  were  in  their  prime,  and  the  union  of 
the  abilities  of  these  two  men  soon  became  dis- 
tinguished through  every  part  of  Europe.  Perhaps 
few  instances  have  occurred  in  which  the  exertions 
of  the  artist  have  been  so  happily  supported  by  the 
taste  of  the  engraver. 

Cipriani  executed  few  large  works  in  painting; 
the  most  considerable  of  tliem  are  at  Houghton. 
He  also  restored  some  of  Verrio's  paintings  at 
Windsor,  as  well  as  the  ceiling  by  Rubens  in  the 
chapel  at  Whitehall,  in  1778.  He  left  an  infinite 
number  of  drawings,  wliicli  may  be  ranked  among 
the  happiest  efforts  of  the  art.  Cipriani  was  one 
of  the  members  of  the  Royal  Academy  at  its 
foundation  in  1768,  and  was  employed  to  make 
the  design  for  the  diploma  which  is  given  to  the 
Academicians  and  Associateson  theiradiiii.ssion,and 
which  was  finely  engraved  by  Bartolozzi.  For  this 
work  the  Academicians  presented  him  with  a  silver 
cup,  at  the  same  time  acknowledging  the  assistance 
they  had  received  from  his  great  abilities  in  his 
profession.  The  original  drawing  was  afterwards 
sold  by  auction  for  thirty-one  guineas.  He  en- 
graved a  few  plates,  some  of  which  are  after  his 


own  designs.  These  were  done  for  Thomas  Hollis, 
to  be  inserted  in  his  '  Memoirs.'  On  them  is  in- 
scribed, '  Drawn  and  etched  by  J.  B.  Cipriani,  a 
Tuscan,'  &c. 

In  1761  Cipriani  married  an  English  lady,  by 
whom  he  had  two  sons,  the  younger  of  whom. 
Captain  Sir  Henky  Cipriani,  was  brought  up  as 
an  artist,  but  afterwards  became  a  clerk  in  the 
Treasury,  and  died  in  1820. 

Cipriani  died  at  Hammersmith  in  1785,  and  was 
buried  in  the  Chelsea  burial-ground,  where  Barto- 
lozzi erected  a  monument  to  hie  memory.  In  the 
year  after  his  death  1100  drawings  by  him  were 
sold  by  auction.  His  own  portrait  by  himself  is 
in  the  UfEzi,  Florence,  and  in  the  Soutli  Kensington 
Museum  are  three  water-colour  drawings  by  him 
— 'The  Triumph  of  Cupid,'  '  The  Jealousy  of  Darn- 
ley,'  and  '  Comedy'  (1783). 

CIRCIGNANO,  Antonio,  who  was  born  at  Poma- 
rance  in  1560,  was  the  son  and  pupil  of  Niccolo 
Circignano,  whom  he  assisted  in  many  of  his  works. 
After  the  death  of  his  father,  he  resided  some  years 
atCittidi  Castello,  where  he  painted  some  of  his  best 
pictures,  of  which  the  most  admired  was  the  '  Con- 
ception,' in  the  Conventual!,  which  Lanzi  describes 
as  partaking  of  the  styles  of  Barocci  and  Roncalli. 
He  returned  to  Rome,  according  to  Baglione,  in  the 
pontificate  of  Urban  VIII.,  and  was  employed  for 
several  of  the  churches.  In  La  Madonna  della 
Consolazione,  he  painted  some  subjects  of  the  life 
of  the  Virgin ;  in  Santa  Maria  Transpontina,  the 
church  of  the  Carmelites,  several  pictures  from  the 
life  of  St.  Albert.     He  died  at  Rome  in  1620. 

CIRCIGNANO,  Niccol6,  called  Dalle  Poma- 
RANCE,  or  II  Pomarancio,  was  born  at  Pomarance, 
in  Tuscany,  in  1519.  Baglione,  without  saying  by 
whom  he  wal  instructed,  states  that  he  visited 
Rome  when  he  was  young,  in  the  pontificate  of 
Gregory  XIII.,  by  whom  he  was  employed  in  the 
great  saloon  of  the  Belvedere.  He  lived  the  greater 
part  of  his  life  at  Rome,  where  there  are  many  of 
his  works  in  the  churches.  In  San  Stefano  Rotonilo, 
is  the  Martyrdom  of  that  Saint.  In  the  Tempio 
del  Gesu,  there  are  two  chapels  entirely  decorated 
by  him;  in  one  he  has  painted  several  subjects 
from  the  lives  of  St.  Peter  and  St.  Paul,  in  the 
other,  the  'Nativity ; '  in  Sant'  Antonio  is  the  'Cruci- 
fixion.' The  Cupola  of  Santa  Pudenzi>ina  is  also 
by  this  master.  Baglione  says  that  he  died  in  thi" 
pontificate  of  Sixtus  V.  (1585-1590)  in  the  72nd 
year  of  his  age  :  therefore,  in  1590. 

CITTADINI,  Gaetano,  was  the  son  of  Carlo 
Cittadini,  and  was  instructed  by  his  father.  He 
excelled  in  painting  landscapes  of  a  cabinet  size, 
with  small  figures,  correctly  drawn  and  spiritedly 
touched.  His  works  were  held  in  estimation  both 
at  Rome  and  at  Bologna.  He  lived  about  the  year 
1725.  His  brother  Giovanni  Girolamo  was  also  a 
distinguished  painter. 

CITTADINI,  Giovanni  Battista,  Carlo,  and 
Angiolo  Michele,  were  the  sons  of  Pierf  rancesco 
Cittadini,  and  painted  animals,  birds,  fruit,  and 
flowers,  in  tlie  style  of  their  father.  They  resided 
ch'efly  at  Bologna.  Giovanni  was  burn  in  1657, 
and  died  in  1693 :  Carlo  was  born  in  1669,  and 
died  in  1744. 

CITTADINI,  Pierfrancesco,  called  It  Milanese, 
was  born  at  Milan  in  either  1613  or  1616,  and  was 
brought  up  in  the  school  of  Guido.  He  possessed 
powers  for  the  higher  work  of  art,  as  is  evident 
from  the  proofs  he  has  given  in  the  churches  at 
Bologna.     His  '  Stoning  of  Stephen,' '  Christ  pray- 

297 


A  BIOGRAPHICAL  DICTIONARY  OF 


ing  in  the  Garden,'  the  'Flagellation,'  and  the 
'  Ecce  Homo,'  whicli  he  painted  for  the  church  of 
San  Stefano,  and  his  '  St.  Agatha,'  for  the  church  of 
that  Saint,  are  productions  not  unworthy  of  a  dis- 
ciple of  Guido.  Yet,  whether  hewas  allured  by  the 
encouragement  given  to  the  painters  of  ornamental 
cabinet  pictures,  or  from  his  own  caprice,  this  able 
artist  descended  to  the  humble  imitation  of  still- 
life.  Many  of  his  pictures  of  dead  game,  fruit,  and 
flowers,  are  in  the  collections  at  Bologna,  where  he 
died  in  1681.  An  'Adoration  of  the  Shepherds' 
by  him  is  in  the  Hermitage,  St.  Petersburg ;  and 
the  Dresden  Gallery  contains  '  Hagar  and  the 
Angel,'  '  Lot  and  his  daughters  leaving  Sodom,' 
and  a  picture  of  still-life.  Three  paintings  by  him 
are  in  the  Bologna  Gallery.  Albani  called  the 
three  sons  of  this  painter,  '  I  Fruttajuoli '  and 
'  I  Fioranti ' 

CIVALLI,  Francesco,  who  was  born  at  Perugia 
in  1660,  was  a  scholar  of  Andrea  Carlone.  On  leav- 
ing that  master  he  went  to  Rome,  where  he  studied 
some  time  under  Giovanni  Battista  Gauli,  called 
Baciccio.  He  was  a  reputable  painter  of  history  ; 
but  his  chief  merit  consisted  in  his  portraits,  which 
are  very  generally  esteemed.     He  died  in  1703. 

CIVERCHIO,  ViNCENZo,  (or  Verchio,)  was  born 
at  Creraa  towards  the  close  of  the  15th  century.  He 
has  also  been  styled  "  IL  Fornaro,"  and  was  at 
Brescia  for  the  first  time  in  1493,  where  he  spent 
four  years  in  the  decoration  of  the  old  cathedral, 
a  labour  which  has  now  entirely  disappeared.  The 
churches  of  Santa  Barnaba  and  Sant'  Alessandro, 
Brescia,  contain  altar-pieces  by  him,  dated  1496 
and  1504.  His  earliest  known  remaining  work  at 
Crema  is  the  altar-piece  in  the  duomo,  representing 
'  St.  Sebastian,  between  SS.  Christopher  and  Roch,' 
dated  1509.  In  1526  he  painted  the  portraits  of  the 
illustrious  citizens  of  Crema,  and  likewise  restored 
a  miraculous  Pieta,  which  belonged  to  the  duomo. 
The  date  of  his  death  is  uncertain.  He  was  living 
in  1539,  for  that  date  is  found  on  a  '  Baptism  of 
Christ '  by  him  in  the  Tadini  Collection  at  Lovere. 
The  following  of  his  paintings  are  worthy  of  note  : 
Brescia.     »y.  Alessandro.  Pieta.     1504. 

„  „  Scenes  of  the  Passion.    1504. 

Crema.  Bishop^s  Chapel.  An  Annunciation. 

„  Toicn  Hall.  St.   Mark    between    Justice   and 

Temperance.     1507 — 1509. 

„  „  Several  portraits  of  personages  of 

distinction  in  that  city.     1526. 

n  Cathedral.  St.  Sebastian  between  SS.  Roch 

and  Christopher.    1515  or  1519. 
Gessate.  A  Fietro.  Pieta. 

Lovere.         Tadini  Coll.  Baptism  of  Christ.     1539. 

„  Casa  Carioni.  15    Scenes    from    the    Story    of 

Psyche  {as  a  frieze).     1540. 

„  -S.  Andrea.  Trinity. 

),  „  SS.     Nicholas,    Sebastian,    and 

Roch. 
Palazzuolo.      Church.      The   Madonna  and    Child,   with 
Angels  and  Saints.     1525. 

Vasari  by  mistake  speaks  also  of  an  older  painter 
of  the  same  name. 

CIVETON,  Cheistophe,  a  French  engraver  and 
draughtsman,  was  born  in  Paris  in  1796.  He 
studied  under  Bertin,  and  made  drawings  of  Views 
in  the  environs  of  Paris.     He  died  in  1831. 

CIVETTA.     See  Bles. 

CLACK,  Richard  Auqdstus,  the  son  of  a  Devon- 
shire clergyman,  whose  chief  works  were  portraits, 
exhibited  at  the  Royal  Academy  from  1830  to  1857. 
He  lived  for  some  time  at  Exeter,  and  afterwards 
at  Hampstead,  but  the  dates  of  his  birth  and  death 
are  not  recorded. 

298 


CLAES,  Anthonie,  (or  Claessens,)  the  son  of 
Pieter  Claes  the  elder,  painted  historical  and  alle- 
gorical subjects,  and  portraits.  He  was  a  native 
of  Bruges,  and  there  entered  the  Guild  of  St.  Luke 
in  1576,  and  became  its  dean  in  1586,  1590,  and 
1601.  He  died  in  1613.  His  works,  several  of 
which  are  in  the  H6tel-de-Ville  and  churches  of 
Bruges,  are  distinguished  by  their  fine  colouring 
and  finish.  In  the  H6tel-de-Ville  is  a  '  Grand 
Banquet,'  with  many  portraits  of  magistrates  of 
the  time,  dated  1574. 

His  son,  Pieter  Anthonie,  was  dean  of  the 
Guild  of  St.  Luke  at  Bruges  in  1607,  and  died  in 
1608. 

CLAES,  Florent,  a  Belgian  painter  of  interiors 
and  genre  subjects,  was  born  at  Antwerp  in  1818. 
He  studied  under  N.  de  Keyser,  and  died  in  his 
native  city  in  1870. 

CLAES,  GiLLES,  (or  Claessens,)  an  historical 
painter,  was  the  son  of  Pieter  Claes  the  elder.  He 
was  born  at  Bruges,  and  in  1670  was  admitted  into 
the  Guild  of  St.  Luke,  of  which  he  became  dean  in 
1577.  He  became  domestic  painter  to  Alessandro 
Farnese,  Duke  of  Parma,  Governor  of  the  Nether- 
lands, and  to  the  Archduke  Albert  and  Infanta 
Isabella.     He  died  at  Bruges  in  1607. 

CLAES,  Pieter,  (or  Claessens,)  the  elder,  a 
Flemish  painter  of  history  and  portraits,  was  the 
earliest  of  a  large  family  of  artists  who  lived  at 
Bruges,  where  he  was  born  in  1500.  He  was  a 
pupil  of  Adriaan  Bekaert,  and  was  admitted  into 
the  Guild  of  St.  Luke  in  that  city  in  1516,  made  a 
master  in  1629,  and  dean  in  1572.  He  died  at 
Bruges  in  1576.  In  the  collection  of  the  Prince 
of  Orange  at  Brussels  was  a  painting  by  him  of  a 
knight  kneeling,  with  four  sons,  and  in  the  Copen- 
hagen Museum  is  a  Man's  Portrait  by  him.  The 
name  has  been  often  written  Claeis,  Claeissens, 
Claeyssens,  and  Claeyssoone. 

CLAES,  Pieter,  (or  Claessens,)  the  younger, 
was  the  son  of  Pieter  Claes,  the  elder.  He  was 
born  at  Bruges,  and  died  there  in  1612.  He  painted 
history,  allegories,  and  portraits,  and  became  a 
master  of  the  Guild  of  St.  Luke,  at  Bruges,  in  1570, 
and  dean  in  1587, 1600,  and  1606.  His  masterpiece 
is  a  triptych  in  the  church  of  St.  Walburga  at 
Bruges,  representing  '  Notre-Dame  de  I'Arbre-Sec,' 
painted  in  1606-1608,  and  long  erroneously  attri- 
buted to  Pourbus.  There  is  also  a  triptych,  an 
'  Ecce  Homo,'  by  him,  in  the  cathedral,  and  the 
'  Pacification  of  Ghent'  in  the  Academy  at  Bruges. 
His  works  are  remarkable  for  their  design  and 
colouring,  but  are  wanting  in  animation. 

This  artist  had  a  son,  also  named  Pieter,  who 
died  in  1623.  His  '  Christ  bearing  the  Cross  '  is  in 
the  Hospital  of  St.  John  at  Bruges. 

CLAESSEN,  Aertgen,  also  called  Aebtqen  van 
Leyden,  or  Aertgen  de  Voller,  was  a  Dutch 
painter,  bom  at  Leyden  in  1498.  He  was  a  scholar 
of  Cornells  Engelbrechtszoon,  whose  manner  he  at 
first  imitated  ;  but  on  seeing  the  works  of  Schoorl 
and  Heemskerk,  he  changed  his  mode  of  design- 
ing, which  rt'as  neither  correct  nor  agreeable,  and 
adopted  the  style  of  those  masters.  He  painted 
historical  subjects,  and  composed  his  subjects  with 
surprising  facility.  He  also  made  many  designs 
for  painters  upon  glass.  Van  Mander  speaks  in 
very  favourable  terms  of  two  pictures  by  this 
master  at  Leyden,  one  representing  the  'Cruci- 
fixion, with  the  Virgin,  Mary  Magdalen,  and  the 
Disciples;'  the  other,  'Christ  bearing  his  Cross.' 
He  died  in  1564.     There  are  paintings  by  him  in 


VINCENZO  CIVERCHIO 


Brogi  phofoi 


\Biera  Gallery,  Milan 


THE  BIRTH  OF  CHRIST 


PAINTERS  AND  ENGRAVERS. 


the  Berlin  Gallery,  of  '  Christ  before  Caiaphae,'  and 
a  'Holy  Family.' 

CLAESSEN,  Alaert,  a  Dutch  engraver,  who 
flourished  at  Amsterdam  between  1520  and  1562. 
He  copied  Lucas  van  Leyden,  Albrecht  Diirer,  and 
H.  S.  Beham.  There  is  also  a  plate  by  him  after 
Mantegna.  His  engravings,  which  are  among  the 
best  productions  of  his  time,  are  executed  with  a 
light  touch,  but  are  not  correctly  drawn.  He  there- 
fore shows  to  more  advantage  in  his  smaller  than 
in  his  larger  works,  of  which  he  executed  but  very 
few. 

Bartsch  and  Passavant  describe  142  works  by 
this  artist,  amongst  which  are  : 

David  and  Goliath. 

The  Baptism  of  the  Eunuch.     1524. 

St.  Margaret. 

A  Nativity. 

The  Baptism  of  Christ. 

The  Death  of  Geoeral  Gattamelatta ;  afttr  Mantegna. 

1555. 
A  Naked  'Woman,  with  a  Dragon. 

CLAESSENS,  Anthonie,  a  painter  of  Antwerp, 
is  said  to  have  been  a  pupil  of  Quentin  Massys. 
There  are  two  works  from  his  hand  in  the  Academy 
at  Bruges,  painted  in  1498  for  the  town  hall,  and 
which  have  until  recently  been  attributed  to 
Gheerardt  David  ;  they  represent  the  '  Judgment 
of  Cambyses '  and  the  '  Flaying  of  Sisamnes.' 
These  works  are  correctly  drawn,  of  remarkable 
expression,  and  cleverly  coloured,  but  somewhat 
cold  in  tone  and  with  the  shadows  too  deep.  There 
was  also  a  picture  in  the  church  of  the  Car- 
thusians at  Miraflores  in  Spain,  representing  '  St. 
John  the  Baptist  and  a  Bishop,'  which  bore  the 
legend  '  Antonio  Claesins  Brugensis.'  In  the  Dublin 
National  Gallery  is  a  '  Nativity '  said  to  be  by 
him. 

CLAESSENS,  Lambertus  Antonios,  was  born 
at  Antwerp  in  1764,  and  commenced  his  artistic 
career  as  a  painter  of  landscapes  ;  but  abandoned 
the  palette  to  exercise  his  talents  as  an  engraver, 
and  became  highly  proficient,  combining  the  use  of 
the  graver  with  that  of  the  etching  needle  in  a 
most  happy  manner.  He  studied  under  Bartolozzi, 
and  engraved  plates  after  the  works  of  Rubens, 
Rembrandt,  Gerard  Dou,  Ostade,  and  other  eminent 
painters  of  the  Netherlands.  He  practised  in 
London,  Amsterdam,  and  Paris,  where  he  settled 
about  1810.  He  died  at  Rueil,  near  Paris,  in  1834. 
C'laessens  married  the  widow  of  the  French  minia- 
ture painter  Pelletier,  who  was  herself  an  artist. 
His  best  works  are  : 

The  Descent  from  the  Cross  ;  after  Kuiens. 
The  Dropsical  ^yoman  ;  after  G.  Dou. 
The  Night  Watch  ;  after  Seml/randt. 
The  Laugher  ;  after  F.  Hals. 

CLARET,  William,  an  English  portrait  painter, 
flourished  from  about  1670  to  1680.  He  was  a 
scholar  of  Sir  Peter  Lely,  and  copied  many  of  the 
pictures  of  that  master.  Of  his  own  productions, 
one  of  the  most  successful  was  a  portrait  of  John 
Egerton,  Earl  of  Bridgewater,  of  which  we  havea 
mezzotint  print  by  K.  Thomson.  He  died  in 
London  in  1706. 

CLARK,  John  Heaviside,  who  was  born  about 
1770,  was  sometimes  known  as  '  Waterloo  Clark,' 
because  of  the  sketches  he  made  on  the  field  directly 
after  the  battle.  He  was  the  author  of  '  A  prac- 
tical essay  on  the  art  of  Colouring  and  Painting 
Landscapes,'  with  illustrations,  published  in  1807, 
and  '  A  practical  Illustration  of  Gilpin's  Day,'  with 


thirty  designs,  in  1824.  He  died  in  Edinburgh  in 
1863. 

CLARK,  Thomas,  a  native  of  Ireland,  studied  in 
the  Dublin  Academy,  and  about  1768  entered  the 
studio  of  Sir  Joshua  Reynolds,  with  whom,  how- 
ever, he  did  not  remain  long.  He  drew  heads 
well,  but  was  a  very  poor  colourist.  He  died 
young. 

CLARK,  W.,  a  corporal  in  a  Light  Dragoon 
Regiment,  practised  successfully  as  an  aquatint 
engraver.     He  died  at  Limerick  in  1801. 

CLARKE,  John,  an  engraver,  was  bom  in  Scot- 
land about  1650,  and  worked  with  success  at  Edin- 
burgh. He  died  about  1697.  We  have  by  him 
the  following  plates : 

A  Medallion  of  William  and  Mary,  Prince  and  Princess 
of  Orange.     1690. 

Sir  Matthew  Hale 

George,  Baron  de  Goertz. 

Andrew  Marvell. 

Humphrey  Prideaux. 

Seven  small  Heads  on  one  plate :  Charles  II.,  and  his 
Queen,  Prince  Rupert,  Prince  of  Orange,  Duke  of 
York,  Duke  of  Monmouth,  and  General  Monk. 

The  Humours  of  Harlequin  {from  his  own  designs), 

CLARKE,  John,  an  engraver  mentioned  in  Wal- 
pole's  'Anecdotes,'  resided  in  Gray's  Inn,  London, 
and  worked  during  the  latter  portion  of  the  17th 
century.  He  engraved  a  portrait  of  Rubens,  and 
a  print  of  '  Hercules  and  Deianira.' 

CLARKE,  Theophilus,  was  born  in  1776.  He 
studied  under  Opie,  and  became  a  student  of  the 
Royal  Academy  in  1793,  and  an  Associate  in  1803. 
He  chiefly  practised  portrait  painting,  but  occa- 
sionally exhibited  fancy  subjects,  such  as  '  The 
Pensive  Girl,'  and  '  The  Lovers,'  from  Thomson's 
Seasons.  It  li  not  known  when  he  died,  but  his 
name  was  retained  on  the  list  of  Associates  till 
1832. 

CLARKE,  William,  was  an  English  engraver 
mentioned  by  Vertue.  He  engraved  the  portraits 
of  George,  Duke  of  Albemarle,  from  a  picture  by 
Barlow  ;  Elizabeth  Percy,  Duchess  of  Somerset ; 
and  John  Shower,  from  a  painting  by  himself. 
The  latter  is  a  small  mezzotint.  His  last  work  is 
dated  1680. 

CLARKSON,  Nathaniel,  who  began  life  as  a 
coach-panel  and  sign  painter,  afterwards  became 
known  for  liis  portraits.  He  was  a  member  of  the 
Incorporated  Society  of  Artists.  In  1787  he 
painted  an  altar-piece  of  the  '  Annunciation,'  which 
he  presented  to  St.  Mary's  church  at  Islington, 
where  he  resided.     He  died  there  in  1795,  aged  71. 

CLAROS,  Luis,  was  a  Valencian  painter,  errone- 
ously represented  as  a  scholar  of  the  Rihaltas.  He 
joined  the  Augustinian  Order  in  1663,  and  painted 
for  his  convent  a  large  picture  of  '  Christ  ministered 
to  by  Angels  in  the  Desert,'  besides  other  works,  in 
one  of  which  he  introduced  his  own  portrait. 

CLARUS,  Fabritids.     See  Chiari. 

CLARY,  JusTiNlEN  Nicolas,  Viscount,  a  French 
amateur  painter  of  animals,  was  born  in  Paris  in 
1816,  and  died  in  that  city  in  1869. 

CLASENS,  D.,  a  Dutch  engraver,  flourished 
about  the  year  1660.  His  name  is  affixed  to  a 
coarse  etching,  representing  the 'Virgin  and  Infant 
Christ,  with  St.  John  and  an  Angel,'  after  Procac- 
cini. 

CLASERI,  Marco,  was  a  native  of  Venice,  and 
flourished  about  the  year  1580.  He  engraved 
several  wood-cuts,  among  which  are  the  '  Four 
Seasons,'  and  the  '  Four  Ages  of  the  World.' 

299 


A  BIOGRAPHICAL  DICTIONARY  OF 


CLASSICUS,  ViCTOKirs,  was,  accordingto  Florent 
Le  Comte,  a  sculptor  and  an  architect.  He  is  said 
to  have  engraved  some  plates  from  the  paintings 
of  Tintoretto.  There  is  a  small  portrait  of 
Tintoretto,  engraved  in  a  style  resembling  that  of 
Cornelis  Cort,  inscribed  Alessandro  Yictorio  Clas- 
sico  sculp.,  which  is  probably  by  the  same  artist. 

CLATER,  Thomas,  exhibited'  portraits  and  sub- 
ject pieces  at  the  Royal  Academy  from  1820  till 
1859.     He  died  in  1867. 

CLAUDE,  a  French  painter  upon  glass,  called 
by  tlie  Italians  Claudio  Francese,  bom  in  the  south 
of  France  about  1470,  to  whom  is  due  the  honour 
of  having  introduced  the  art  into  Italy.  Claude 
took  with  him  to  Rome  a  colleague,  named  Guil- 
laume,  and  they  together  executed  at  the  Vatican 
many  windows  which  were  destroyed  in  the  siege 
of  1527.  They  also  painted  for  the  church  of  Santa 
Maria  del  Popolo  two  windows  representing  the 
history  of  the  Virgin,  which  still  exist.  Claude 
died  soon  after  their  completion. 

CLAUDE  LORRAIN     See  Gellee. 

CLAUDOT,  Je.u»-  Baptiste  Chakles,  a  French 
painter  of  landscapes,  flowers,  and  still-life,  was 
born  at  Badonviller  (Vosges)  in  1733.  Several  of 
his  works  are  in  tlie  Museum  of  Nancy,  where  he 
died  in  1814.  He  was  the  friend  of  Girardet  and 
Joseph  Vernet. 

CLAXTON,  Marshall,  a  historical  painter,  was 
born  at  Bolton,  in  Lancashire,  in  1811.  He  became 
a  pupil  of  John  Jackson,  R.A.,  and  was  also  a 
student  at  the  Royal  Academy,  entering  the  school 
in  1831.  The  first  picture  which  he  exhibited  was 
a  portrait  of  his  father,  in  1832.  'The  Evening 
Star  '  appeared  in  the  following  year.  He  obtained 
the  first  medal  in  the  Painting  School  in  1834,  and 
the  following  year  he  was  awarded  the  gold  medal 
of  the  Society  of  Arts,  for  a  portrait  of  Sir  Astley 
Cooper.  He  exhibited  at  the  Royal  Academy,  the 
Society  of  British  Artists,  and  the  British  Institu- 
tion. In  1837  he  visited  Rome,  and  stayed  in  Italy 
some  time.  At  the  Cartoon  Exhibition  at  West- 
minster Hall  in  1843,  he  obtained  a  prize  of  £100 
for  his  '  Alfred  the  Great  in  the  Camp  of  the 
Danes,'  now  in  the  Literary  and  Scientiiic  Institu- 
tion at  Greenwich.  In  Westminster  Hall,  1845, 
he  had  a  large  oil  picture  of  the  '  Burial  of  Sir 
John  Moore  at  Corunna.'  About  1850  he  went  to 
Australia  with  the  intention  of  raising  a  School  of 
Art,  taking  with  him  a  large  collection  of  nearly 
two  hundred  pictures,  which  he  exhibited  to  the 
public  free.  Being  disappointed  in  his  endeavours, 
he  left  about  1855,  and  went  to  India,  where  he 
sold  all  his  large  pictures.  He  returned  with  a 
portfolio  full  of  sketches  of  Australian,  Indian, 
and  Egyptian  scenery  and  figures.  The  Baroness 
(then  Miss)  Burdett-Coutts  commissioned  him, 
while  in  Australia,  to  paint  a  large  picture  of 
'Christ  blessing  little  Children,'  which  is  now  in 
the  Bchool-room  attached  to  St.  Stephen's,  West- 
minster. It  measures  twenty  by  sixteen  feet. 
Claxton  died  in  London  in  1881.  Among  his 
principal  works  are  the  following  : 

Spencer  reading  the  '  Faerie  Queene '  1 

to  his  Wife  and  Sir  Walter  Ealeigh.     Painted  for 

The  Mother  of  Moses.  [the  Baroness 

The  Free  Seat.  j  £urdett-CouUs. 

The  Grandmother.  J 

General  View  of  the  Harbour  and"\ 

City  of  Sydney.  [in  the  possession 

Portrait  of  the   Last   Qaeen   of  the  (of  Her  Majesty. 
Aborigines.  J 

Christ  at  the  Tomb  of  Lazarus, 
300 


L'Alieyn. 

Jews  Mourning  over  Jerusalem. 

Sir  Joshua  Keynolds  and  his  Friends 

Hagar  and  Ishmael. 

High  Church :  Low  Church  :  No  Church  (in  thret  com- 
partments). 

The  Death-Bed  of  John  Wesley. 

The  Last  Interview  between  Dr.  Johnson  and  Sir  Joshua 
Reynolds. 

The  Sepulchre.  (Exhibited  at  the  International  Exhibi- 
tion. London.  1S62  J 

CLAY,  Alfred  Barron,  who  was  born  at 
Walton-le-Dale,  near  Preston,  in  1831,  first  studied 
for  the  law,  but  abandoning  it  in  1852,  he  went  to 
Liverpool,  and  in  the  same  year  came  to  London 
and  entered  the  schools  of  the  Royal  Academy. 
From  1855  he  was  a  regular  contributor  to  its 
exhibitions.  He  began  by  painting  portraits  ;  the 
subjects  of  his  best  works  are,  however,  taken  from 
Scottish  and  French  history.  In  1864  he  exhibited 
'  Charles  IX.  and  the  French  Court  at  the  Massacre 
of  St.  Bartholomew':  in  1865,  'The  Huguenot'; 
and  in  1867,  his  masterpiece, '  The  Return  of  Charles 
IL  to  Whitehall  in  1660.'  He  died  in  1868,  at 
Rainhill,  near  Liverpool. 

CLAY^S,  Paul  Jean,  Belgian  marine  painter, 
bom  at  Bruges  in  1819.  His  artistic  education 
was  completed  in  France,  where  he  became  a 
pupil  of  Gudin.  On  leaving  Paris  he  established 
himself  at  Brussels,  where  he  soon  made  a  name 
for  himself.  In  the  choice  of  his  subjects,  and  in 
their  placid  presentment  he  followed  the  methods 
of  the  old  Dutch  masters,  though  occasionally  he 
could  paint  harbour-pieces  full  of  the  stir  and 
bustle  of  modem  life.  He  had  a  fine  sense  for 
colour,  a  broad  and  simple  style,  his  atmospheric 
effects  being  most  remarkable.  Among  his  most 
important  works  we  may  mention  '  L'Escaut  k 
Anvers,'  '  Un  Coup  de  Vent  sur  L'Escaut  a 
Anvers,'  'L'Entree  de  La  Rivifere  de  Southampton,' 
'  La  Tamise  aux  Environs  de  Londres,'  '  Le  Zuider 
Zee,'  'La  Rade  de  Dordrecht,'  &c.  &c.  Two 
characteristic  canvases  of  his  were  shown  in  the 
Salon  of  1899:  'Vue  D'Anvers'  and  '  Calme  au 
Waal '  (in  the  environs  of  Amsterdam).  Clays 
was  made  a  chevalier  of  the  Legion  of  Honour  in 
1867,  and  was  promoted  to  the  grade  of  ofiBcer  in 
1881.     He  died  at  Brussels  on  February  10,  1900. 

P.P. 

CLAYTON.  John,  who  originally  studied  surgery, 
painted  still  life  and  fruit  in  oil  and  water-colours 
about  the  middle  of  the  18th  century.  He  has  left 
no  remembrance  of  his  works,  some  of  the  chief  of 
which  were  destroyed  bv  fire  in  1769.  He  died  at 
Enfield  in  1800,  aged  72". 

CL6,  Cornelis  de.     See  De  Cl^. 

CLEANTHES,  who  flourished  at  Corinth  about 
B.  c.  900,  was  one  of  the  earliest  of  the  Greek  artists, 
and  is  considered  by  some  as  the  inventor  of  the 
'pictura  linearis',  or  monogram,  a  picture  consisting 
of  a  simple  outline,  with  the  interior  lines  of  the 
figures  expressed,  but  without  any  light  or  shade 
or  local  colouring. 

CLEEF,  Hendrik  van,  the  brother  of  Marten 
van  Cleef,  the  elder,  and  of  Willem  van  Cleef,  the 
younger,  was  a  native  of  Antwerp.  It  is  not 
known  under  whom  he  studied ;  but  he  went  to 
Italy  when  young,  and  returned  to  his  native 
country  a  good  painter  of  landscapes.  His  pic- 
tures are  distinguished  by  an  uncommon  lightness 
of  touch,  and  an  excellent  tone  of  colour.  The 
backgrounds  of  the  historical  works  of  hie  brother 
Marten  and  of  Frans  Floris  are  frequently  painted 


PAINTERS  AND  ENGRAVEBS. 


by  this  artist,  and  are  harmonized  with  the  figures 
with  great  intelhgence.  In  the  Belvedere  at  Vienna 
is  the  '  History  of  the  Prodigal  Son  '  by  him.  He 
was  received  into  the  Guild  of  St.  Luke  at  Ant- 
werp in  1551.  Hendrik  van  Cleef  distinguished 
himself  as  an  engraver.  We  have  several  plates  by 
him  of  landscapes  and  views  near  Rome,  after  his 
own  designs  or  those  of  Melchior  Lorch,  which  he 
sometimes  signed  Henricvs  Clivensis,  fecit,  and 
sometimes  marked  with  the  cipher 'VJigJ^    They 

are  as  follow  : 

A  Bull-fight  at  Eome,  before  the  Famese  Palace. 
A  Landscape,  with  Figure.^  in  a  Cave,  cooking. 
Another  Landscape,  with  Figures  at  Table  in  a  Cave 
A  set  of  six  Landscapes,  with  Latin  titles. 
A  set  of  four  Views  in  the  vicinity  of  Rome. 

There  is  a  series  of  thirty-eight  plates  by  this 
artist,  entitled  Ruinarvm  varii  prospectus,  ruri- 
vmgue  aliquot  deli7ieationes,  published  by  Theo- 
dorus  Galle.     He  died  at  Antwerp  in  1589. 

His  son,  Hendrik  van  Cleef,  who  was  born  at 
Antwerp,  settled  about  1597  at  Ghent,  where  he 
was  much  esteemed,  but  his  works  are  now  con- 
founded with  those  of  his  father.  He  died  at  Ghent 
in  1646. 

CLEEF,  Jan  van,  a  painter  of  the  Flemish 
school,  was  born  at  Venloo  in  Guelderland  in  1646. 
After  receiving  some  instruction  from  PrinioGentil, 
he  entered  the  school  of  Gaspar  De  Craeyer, 
at  Brussels.  Under  that  artist  young  Van  Cleef 
made  surprising  progress,  and  in  a  few  years 
was  able  to  assist  his  master  in  the  immense 
number  of  works  on  which  he  was  engaged  for  the 
churches  in  the  Low  Countries.  On  the  death  of 
De  Craej'er,  Van  Cleef  was  entrusted  with  the  com- 
pletion of  the  works  left  unfinished  by  his  master. 
He  was  now  considered  one  of  the  ablest  artists  of 
his  country,  and  immediately  received  many  com- 
missions for  the  churches  and  convents,  in  which 
he  has  given  satisfactory  proof  of  the  respectability 
of  his  talents.  Witliout  being  an  imitator  of  De 
Craeyer,  he  followed  the  same  simple  purity  of 
colour,  and  was  equally  correct  in  his  design,  in 
which  he  displayed  something  of  an  Italian  style. 
His  great  practice  gave  him  an  uncommon  facility, 
and  his  compositions  are  distinguished  by  judgment 
and  taste.  His  works  are  very  numerous  in 
Flanders  and  Brabant ;  the  most  esteemed  of  them 
are  at  Ghent.  In  the  church  of  St.  Nicholas  is  a  fine 
picture  of  '  The  Magdalen  at  the  Feet  of  Christ.'  In 
St.  Michael,  there  is  the  '  Immaculate  Conception  ' 
In  St.  James's  cliurch  is  a  fine  picture  of  the 
'Assumption,'  and  in  the  gallery  the  'Crowning  of 
St.  Joseph.'  His  most  admired  work  is  in  the 
chapel  of  the  Convent  of  the  Black  Nuns,  represent- 
ing Sisters  of  that  Order  administering  succour  to 
a  group  of  figures  afflicted  with  the  Plague.  It  is 
an  admirable  picture,  in  drawing  and  colouring 
approaching  the  excellence  of  Van  Dyck.  He  died 
at  Ghent  in  1716. 

CLEEF,  JoosT  van,  called  Zotte  Cleef  (Mad 
Cleef),  was  born  at  Antwerp  about  the  year  1520, 
and  was  instructed  in  painting  by  his  father, 
Willem  van  Cleef,  the  elder.  Joost  was  an 
excellent  colourist ;  and  though  it  does  not  ap- 
pear that  he  ever  was  in  Italy,  his  pictures  are 
composed  and  designed  more  in  the  style  of  the 
Italian  than  the  Flemish  school.  He  painted  some 
altar-pieces  for  the  churches  in  Flanders,  which 
were  so  much  praised  that  he  became  mtoxicated 
with  conceit.     Van  Cleef  came  to  Engl  and  in  1654, 


I 


with  the  confident  hope  of  brilliant  success,  and 
was  introduced  to  King  Philip  by  his  countryman. 
Sir  Antonio  Moro.  But,  unfortunately  for  his 
expectations,  some  of  the  fine  pictures  of  Titian 
had  arrived  before  him,  and  Philip  was  too  much 
charmed  with  the  beauties  of  the  Venetian  to  do 
justice  to  the  undoubted  merit  of  the  Fleming. 
Finding  his  prospects  thus  blasted,  be  became 
furious,  and  vented  his  rage  on  Moro  as  the  cause 
of  his  disgrace.  In  the  catalogue  of  the  pictures 
of  James  II.  appear  two  by  Van  Cleef,  '  The 
Nativity  '  and  '  The  Judgment  of  Paris.'  His 
death  occurred  probably  about  1556,  for  he  is 
said  to  have  died  at  the  age  of  36.  There  is  much 
confusion  in  the  records  of  the  artists  of  this  name. 
Hendrik,  Marten,  and  Willem  were  brothers,  and 
were  contemporaries  of  Joost,  but  there  is  no 
absolute  proof  that  they  were  related  to  him. 
Altliorp.  Earl  Spencer.  His  own  Portrait. 
Antwerp.  Cathedral.  St.  Cosmo  and  St.  Damian. 
Berlin.       Gallery.  Portrait  of  a  young  man. 

Windsor.    Castle.  The  Artist  and  his  Wife. 

CLEEF,  Marten  van,  was  a  brother  of  Hen- 
drik van  Cleef,  and  a  disciple  of  Frans  Floris. 
He  painted  historical  subjects,  and  was  employed 
for  some  of  the  churches,  but  was  more  esteemed 
for  historical  pictures  of  an  easel  size,  in  which 
the  landscapes  and  backgrounds  were  painted  by 
his  brother  Hendrik.  He  is  called  the  '  Master  of 
the  Ape,'  because  he  sometimes  introduced  the 
figure  of  an  ape  (in  allusion  to  his  name)  as  his 
mark.  In  the  Belvedere  at  Vienna  is  a  painting 
by  him  of  '  Men,  Women  and  Children,  seated  at 
table  in  a  farm-house.'  He  became  a  member  of 
the  Guild  of  St.  Luke  at  Antwerp  in  1551,  and 
died  about  1570. 

CLEEF,  Willem  van,  who  was  also  a  brother 
of  Hendrik  van  Cleef,  was  received  into  the 
Guild  of  St.  Luke  at  Antwerp  in  1550.  It  is  thought 
that  he  may  have  studied  under  Floris.  He  painted 
figure  subjects,  and  died  young. 

CLEIN,  Franz.     See  Cleyn. 

CLEIN,  Hans,  an  engraver  on  copper  and  wood, 
as  well  as  a  goldsmith,  was  a  native  of  Nuremberg, 
where  he  died  in  1550.  The  only  engraving  by 
him  mentioned  by  Passavant  ('  Peintre-Graveur,'iii. 
38,)  is  a  '  Battle  of  eleven  Naked  Men,'  after  the 
Master  IB.,  dated  1527.  The  woodcuts  which  are 
known  to  he  by  him  are : 

St.  John  the  Baptist  preaching  in  the  Desert. 

An  Apostle  preaching  from  a  Ship. 

The  Betrayal  of  Christ. 

The  Battle  of  Naked  Men.  1524.    (After  the  Master  IB.) 

CLEMENS,  Johan  Frederik,  a  Danish  line- 
engraver,  born  at  Golnau  near  Stettin  in  1749, 
studied  painting  in  the  Copenhagen  Academy  under 
Mandelberg,  and  engraving  under  J.  M.  Preisler, 
and  then  in  Paris  under  Wille  and  Delaunay.  He 
visited  Berlin  and  London ;  but  worked  after  1795 
in  Copenhagen,  where  he  died  in  1831.  His  best 
plate  is  the  '  Death  of  General  Montgomery  at  the 
Battle  of  Quebec,'  after  Trumbull,  engraved  in 
London  in  1792.  Besides  this  he  engraved  '  Fred- 
erick the  Great  with  his  Generals,'  after  Cunning- 
ham, a  '  Holy  Family,'  after  Taraval,  and  a  number 
of  portraits. 

His  first  wife,  Marie  Jeanne  Crevoisier,  to 
whom  he  was  married  in  1781,  was  also  an  artist. 
She  was  born  in  Paris  in  1755,  and  worked  at  first 
in  pastels,  hut  afterwards  studied  engraving.  She 
died  at  Berlin  in  1790  or  1791. 

CLEMENT,  Ffcix  Augdste,  was  bom  at  Dou- 

301 


A  BIOGRAPHICAL  DICTIONARY  OF 


zfere,  Dr6me,  in  1826.  He  was  a  pupil  of  Drolling 
and  Picot,  and  obtained  the  first  '  prix  de  Rome  '  in 
1856.  He  settled  in  Cairo,  and  contributed  pictures 
of  Oriental  subjects  to  the  Salon.  Later  in  life  he 
painted  French  landscapes  and  some  portraits. 
He  died  in  1888. 

CLEMENTOXE.     See  Bocciardo. 

CLENNELL.  Luke,  an  English  painter,  and 
engraver  on  wood,  of  extraordinary  genius  and 
talent,  the  son  of  a  fanner,  was  bom  at  Dlgham, 
near  Morpeth,  in  Northumberland,  in  1781.  His 
early  disposition  for  drawing,  and  neglect  of  other 
studies  or  pursuits,  induced  his  friends  to  place  him, 
in  1797,  with  the  celebrated  Bewick,  in  whose  art 
he  soon  showed  great  skill.  But  he  did  not  confine 
himself  to  engraving  ;  he  produced  several  pictures 
which  attracted  public  attention,  and  gave  promise 
of  future  excellence  as  a  painter.  Among  these 
were  the  '  Arrival  of  the  Mackerel  Boat,'  and  the 
'Day  after  the  Fair,'  in  which  he  gave  a  happy 
delineation  of  rustic  character,  and  showed  great 
knowledge  of  colour.  His  picture  of  the  '  De- 
cisive Charge  made  by  the  Lifeguards  at  the  Battle 
of  Waterloo,'  which  was  afterwards  engraved  by 
Bromley,  established  his  reputation  ;  but  its  excel- 
lence assisted  in  the  melancholy  termination  of 
his  existence.  In  consequence  of  the  sensation 
which  it  produced,  he  was  selected  to  paint  the 
entertainment  given  by  the  city  of  London  at  the 
Guildhall  to  the  allied  sovereigns,  nobles,  and 
generals  who  had  shared  fn  that  memorable  battle. 
The  honour  was  fatal  to  his  health  and  life.  The 
vexations  he  had  to  encounter  from  vanity,  caprice, 
and  supercilious  arrogance,  afEected  his  mind  so 
much  that  he  lost  his  reason.  This  was  in  1817, 
and  though  he  recovered  his  reason  partially  for 
some  years,  yet  the  malady  returned  in  1831,  and 
he  was  removed  to  an  asylum  at  Newcastle-on- 
TjTie,  where  he  died  in  1840.  C!ennell  was  skilful 
in  composition,  and  in  seizing  the  true  points  of 
character;  he  had  great  power  of  execution,  and 
was  well  acquainted  with  the  practical  parts  of  art. 
He  engraved  the  cuts  to  Falconer's  '  Shipwreck,' 
and  Rogers's  '  Poems,'  after  Stothard,  as  well  as 
the  Diploma  of  the  Highland  Society  after  West. 
He  made  many  drawings  for  Scott's  '  Border  Anti- 
quities,' and  was  a  frequent  exhibitor  at  the  Royal 
Academy  and  the  Water-Colour  Exhibition.  "The 
South  Kensington  Museum  has  three  picturesbv  him. 

CLEOPHANTDS,  an  ancient  Corinthian  artist, 
who  flourished  about  B.C.  650,  and  is  said  to  have 
been  the  first  to  fill  up  the  contour  of  the  figure 
with  one  colour,  for  which  invention  he  received 
the  name  of  '  Monocroraatos.' 

CLERC.  Jean  and  Sebastien  le.    See  Leclerc. 

CLERCK,  Hexdrik  de.     See  De  Clerck. 

CLERGET,  Adele.     See  Melling. 

CLERISSEAU,  Charles  Louis,  an  architect  and 
water-colour  draughtsman,  was  born  in  Paris  in 
1722.  He  visited  Rome,  where  he  resided  some 
time,  and  became  well  acquainted  with  the  artists 
of  that  city,  especially  Winckelmann.  He  accom- 
panied Robert  Adams  to  England,  where  he  re- 
mained some  time,  and  made  the  drawings  for 
the  '  Ruins  of  Spalatro,'  which  was  published  in 
1764.  On  his  return  to  France  in  1778,  he  pub- 
lished the  'Antiquites  de  France,'  'Monumens  de 
Nimes,'  and  other  works  ;  and  was  appointed,  in 
1783,  architect  to  the  Empress  of  Russia.  He  is, 
however,  best  known  to  the  world  by  his  fine 
drawings  in  water-colours  of  the  remains  of  ancient 
architecture,  which   are  held  in  high  estimation. 

302 


An  example,  '  Tivoli,'  executed  in  1769,  is  in  the 
South  Kensington  Museum.  The  figures  in  hie 
works  were  drawn  by  Antonio  Zucchi.  He  died  at 
Auteuil.  near  Paris,  in  1820,  in  his  99th  year. 

CLERK,  John,  of  Eldin,  an  amateur  draughts- 
man and  etcher,  was  a  son  of  Sir  John  Clerk,  of 
Penicuik,  Bart.  He  was  bom  at  Penicuik  in  1728, 
and  was  for  some  years  a  merchant  in  Edinburgh, 
but  he  relinquished  mercantile  pursuits  to  become 
Secretar}-  to  the  Commissioners  on  the  Annexed 
Estates  in  Scotland.  From  an  early  period  of  his 
life  he  e\'inced  a  fondness  for  sketching  from 
nature,  and  many  of  these  sketches  he  afterwards 
etched  on  copper.  In  1855  the  Bannatyne  Club 
issued  a  series  of  his  etchings,  chiefly  views  in 
Scotland,  and  some  of  his  drawings  were  engraved 
for  Sibbald's  '  Edinburgh  Magazine.'  He  was 
the  father  of  Lord  Eldin,  one  of  the  Lords  of 
Session,  and  was  the  author  of  an  essay  on  '  Naval 
Tactics,'  which  gave  rise  to  much  controversy. 
He  died  at  Eldin  in  1812. 

CLESIDES.     See  Ctesicles. 

CLEVE.  Van.     See  Cleef. 

CLEVELEY,  John,  an  English  marine  painter, 
was  bom  in  London  about  1745.  He  was  brought 
up  in  the  dockyard  at  Deptford,  and  studied  water- 
colour  painting  under  Paul  Sandby ;  afterwards, 
he  became  a  draughtsman  in  the  navy,  and  in 
1774  accompanied  Captain  Phipps  (afterwards  Lord 
Mulgrave)  in  his  voyage  of  discovery  to  the  Arctic 
Regions.  He  also  went  with  Sir  Joseph  Banks 
to  Iceland.  He  sometimes  painted  in  oil,  and 
was  an  exhibitor  at  the  Royal  Academy  from  1770 
till  1786.  Many  of  his  drawings  have  been  en- 
graved. In  the  South  Kensington  Museum  is  'A 
Launch  at  Deptford  Dockyard  about  1760,'  in  oil, 
and  three  water-colour  drawings  by  him.  He  died 
in  London  in  1786. 

CLEVELEY,  Robert,  who  in  early  life  was  a 
sailor,  exhibited  marine  pictures  at  the  Academy 
from  1780  to  1803,  and  was  appointed  marine- 
painter  to  the  Prince  of  Wales.  He  frequently 
painted  naval  actions  such  as  'The  "Solitaire" 
striking  her  colours  to  the  "Ruby,"'  'Nelson 
boarding  the  San  Josef,'  and  '  Earl  Howe's  Victory.' 
He  died,  through  falling  from  the  clifiE  at  Dover,  in 
1809.  in  the  South  Kensington  Museum  are  two 
water-colour  drawings  of  English  Ships  of  War. 

CLEVENBERGH,  Antoine,  a  Flemish  painter 
of  still-life,  was  born  at  Louvain  in  1755.  He 
studied  historical  painting  under  Verhaeghen,  and 
made  large  pen-and-ink  drawings,  which  possess 
much  merit     He  died  in  1810. 

CLEY'N,  Franz,  (also  Kletn,  or  Clein,)  was 
born  at  Rostock,  in  Mecklenburg-Schwerin,  about 
1590  or  1600,  and  was  for  some  time  in  the  em- 
ployment of  Christian  IV.,  King  of  Denmark.  He 
afterwards  went  for  improvement  to  Rome,  where 
he  passed  four  years,  and  acquired  a  talent  for 
designing  ornaments,  by  which  he  afterwards  dis- 
tinguished himself.  He  came  to  England  in  the 
reign  of  James  I. ,  and  was  taken  into  the  service 
of  the  king,  who  first  employed  him  in  designing 
subjects  for  tapestry  at  the  Mortlake  manufactory. 
He  received  a  pension  from  the  king,  which  he 
continued  to  enjoy  under  Charles  I.,  until  the  Civil 
War.  He  died  in  London  in  1658.  Cleyn  was 
much  employed  in  decorating  the  mansions  of  the 
nobility.  Some  of  the  best  preserved  of  his 
works  are  in  Holland  House,  where  he  painted  a 
chamber,  with  a  ceiling,  and  small  compartments 
J  on  the  chimneys,  which  bear  some  resemblance  to 


PAINTERS  AND  ENGRAVERS. 


the  style  of  Pannigiano.  He  also  made  designs 
for  Virgil  and  for  J^Isop's  Fables,  which  were  en- 
graved by  Hollar.  Cleyn  etched  a  few  plates,  which 
he  sometimes  signed  with  his  name,  and  sometimes 
with  the  initials  F.  C-  and  F.  K.  We  have  by 
him  : 

A  set  of  five  Plates  of  the  Senses,  with  grotesque  orna- 
ments. 
The  Seven  Liberal  Arts  ;  F.  Cleyn  fecit.     1645. 
A  set  of  ten  Plates  of  Grotesque  Ornaments. 

His  sons,  Charles  Cleyn  and  John  Cleyn,  were 
also  painters.  They  both  died  young  in  London. 
Franz  was  born  in  1625,  and  died  in  1660.  Tlieir 
sister,  Penelope  Cleyn,  practised  miniature  paint- 
ing with  great  success. 

CLINCHAMP,  Franqois  £tienne  Victor,  Mar- 
quis de,  a  French  painter  and  author,  was  born 
at  Toulon  in  1787.  He  was  destined  to  a  naval 
career,  but  his  health  failing  he  went  to  Paris, 
where  he  studied  painting  under  Lebarbier  and 
Girodet.  He  gave  to  his  native  town  several  reli- 
gious and  historical  pictures  :  '  Clirist  healing  the 
Sick  of  the  Palsy,'  'The  Sons  of  Zebedee,'  'The 
Death  of  Phocion,'  '  The  Baptism  of  St.  Mandrier,' 
and  a  '  Crucifixion,'  which  was  his  best  exliibited 
work.  He  wrote  some  works  on  perspective,  and 
several  dramatic  pieces.  He  dieil  in  Paris  in  1880. 
CLINT,  Alfred,  painter,  born  in  1807,  was  the 
80n  and  pupil  of  George  Clint,  A.R.A.  He  first 
appeared  at  the  Academy  in  1829,  with  'A  Study 
from  Nature,'  and  several  of  his  later  works  were 
exhibited  with  tliat  body.  He  contributed  more 
frequently,  however,  to  the  shows  of  the  British 
Artists,  of  wliich  society  he  became  a  member  in 
1843,  secretary  in  1858,  and  president  in  1870.  He 
painted  a  few  portraits  early  in  his  career,  but  his 
popularity  rested  chiefly  on  his  landscapes  and 
coast  studies.  In  1849  he  published  a  '  Guide  to 
Oil  Painting.'     He  died  in  188.3. 

CLINT,  George,  who,  like  Turner,  was  the  son 
of  a  hairdresser,  was  born  in  London  in  1770. 
In  early  life  he  occupied  his  leisure  hours  in 
miniature  painting  ;  but  eventually,  he  took  to  it  as 
a  profession.  His  miniatures  produced  at  this 
period  have  been  highly  spoken  of.  He  next  be- 
came acquainted  with  Mr.  Bell,  the  publisher  of 
the  illustrated  edition  of  the  British  Poets,  whose 
nephew,  Edward  Bell,  a  mezzotint  engraver,  initi- 
ated him  into  the  mysteries  of  engraving.  He  not 
only  painted  miniatures,  but  made  drawings  of 
machinery  and  philosophical  apparatus,  and  en- 
graved in  mezzotint,  in  the  chalk  style,  and  in  out- 
line. Among  his  early  works  are  '  The  Frightened 
Horse,'  after  Stubbs,  a  chalk  engraving ;  '  The 
Entombment  of  Christ,'  after  Dietrich  ;  numerous 
portraits  in  the  chalk  style ;  a  large  bold  engrav- 
ing in  mezzotint  of  the  'Death  of  Nelson'  (1807), 
after  the  fine  picture  painted  by  W.  Drumniond, 
A.R.A. ;  and  a  set  of  Raphael's  Cartoons  in  outline. 
He  was  introduced  to  Sir  Thomas  Lawrence,  who 
gave  him  some  of  his  pictures  to  engrave.  He 
was  also  commissioned  to  engrave  '  The  Kemble 
Family,' — containing  portraits  of  John  Kemble, 
Mrs.  Siddons,  Charles  and  Stephen  Kemble,  Blanch- 
ard,  Wewitzer,  Conway,  Park  (the  oboe  player). 
Miss  Stephens  (afterwards  Countess  of  Essex), 
and  other  celebrities — which  had  been  recently 
painted  by  Harlow  for  Tom  Welsh  the  musician, 
and  had  created  an  immense  sensation  on  being 
exhibited  at  the  Royal  Academy.  Its  popularity 
was  so  great  that  it   was  engraved   three   times. 


Clint  painted  in  water-colour  as  well  as  in  oil,  and 
his  painting-room  in  Gower  Street  became  thronged 
with  all  the  distinguished  actors  and  actresses  of 
the  day,  and  with  the  supporters  of  the  drama.  The 
result  of  this  popularity  was  a  series  of  fine  drama- 
tic pictures  which  will  preserve  his  name  along 
with  that  of  Zofllany,  to  whom,  in  many  respects, 
Clint  was  superior.  The  first  of  these  theatrical 
subjects  was  a  picture  of  Farren,  Farley,  and 
Jones,  as  Lord  Ogleby,  Canton,  and  Brusli,  in  the 
comedy  of  the  '  Clandestine  Marriage.'  Then  fol- 
lowed Munden,  Knight,  and  Mrs.  Orger,  in  '  Lock 
and  Key,'  painted  fur  the  elder  Mathews.  This 
picture  secured  his  election  as  an  Associate  of  the 
Royal  Academy,  in  1821.  At  this  time  Welsh 
proposed  to  Clint  to  paint  a  companion  subject  to 
'  The  Kemble  Family,' — the  last  scene  in  '  A  New 
Way  to  pay  Old  Debts,'  in  which  Kean  as  Sir 
Giles  Overreach  was  drawing  all  the  town — and  an 
admirable  picture  was  the  result.  The  picture  of 
the  '  Beggars'  Opera,'  perpetuating  Blanchard,  Mrs. 
Davenport,  and  Miss  M.  Tree,  was  Clint's  next  pro- 
duction.    Then  followed : 

Tayleure,   Mrs.  Davenport,  and   Clara  Fisher,  in  the 

'Spoilt  Child'  {painied for  Lord  Liverjiool). 
Fawcett  and   Charles   Kemble  as  Capt.-iin  Copp  and 

Charles  II.  (painted  for  3tathetos). 
Mithews,  Listen,  and  Blanchard,  in  '  Love,  Law,  and 
Physic ; '  Mathews  as  the  Lying  Valet ;  Bartley  as 
Sir  John  Falstaff ;  Oxberry  as  Master  Peter ;  H;ir- 
ley  as  Popolino  in  '  The  Sleeping  Draught ; '  Liston 
and  Farren  in  '  Charles  XII.'  {painted  for  Lord 
Esaex). 
Miss  Foote  as  Maria  DarUngton  (painted  for  Colonel 

Berkeley/}. 
Young  as  *  Hamlet.' 
Kean  as  '  Richard  III.' 
Macready  as  '  Macbeth.' 

Liston,  Madamte  Vestris,  Miss  Glover,  and  Williams,  in 
'  Paul  Pry.'     1831.    In  the  ^Soiith  Ken^imjion  Museum. 
Charles    Young    as    '  Hamlet,'    and    Miss    Glover    as 
*  Ophelia.'     1831.    Jn  the  South  Kensington  Museum. 

Many  of  this  interesting  series  of  pictures,  repre- 
senting a  phase  in  our  drama  which  has  since 
entirely  passed  away,  ornament  the  walls  of  the 
Garrick  Club.  Falstaff  and  Mistress  Ford  by  him 
is  in  the  National  Gallery.  The  talent  displa3'ed 
by  Clint  procured  him  the  friendship  of  Law- 
rence, Beechey,  Mulready,  Stanfield,  Roberts,  and 
other  members  of  the  Royal  Academy.  But,  in 
spite  of  all,  Clint  remained  for  sixteen  years  an 
Associate,  and  never  attained  the  higher  rank  of 
Academician.  Younger  men  passed  over  his  head, 
and  some  less  worthy  of  the  honour  than  himself. 
At  last,  finding  the  efforts  of  his  friends  of  no 
avail,  he  determined  to  resign  his  position  as  an 
Associate,  which  he  did  in  1835.  He  died  at 
Kensington  in  1854.  In  portrait  painting  Clint 
was  eminently  successful  :  his  men  were  gen- 
tlemen, and  his  ladies  modest  and  charming. 
Associated  with  Mulready,  Cooper,  and  other  dis- 
tinguished artists,  he  laboured  unceasingly  to  estab- 
lish those  valuable  institutions,  the  Artists'  Bene- 
volent and  Annuity  Funds.  He  had  four  sons,  of 
whom  Luke,  the  eldest,  after  giving  great  promise 
as  a  scene-painter,  died  young.  Raphael  was  a 
gem-engraver,  and  possessed  considerable  talent. 
SciPio  distinguished  himself  as  a  medallist,  and 
died  in  1839,  aged  34,  just  as  patronage  was  about 
to  be  bestowed  on  him. 

CLOCHE,  C,  was  a  French  engraver,  who  flour- 
ished about  the  year  1616.  He  engraved  amongst 
other  plates  a  portrait  of  Jean  Boisteau  de  La 
Broderie,  and  a  view  of  the  city  of  Rennes. 

303 


A  BIOGRAPHICAL  DICTIONARY  OF 


CLOCK  NicoLAAS,  or  Claas,  a  Dutch  engraver, 
was  born  at  Leyden  about  the  year  1570.  Accord- 
ine  to  Heinecken,  he  was  a  disciple  of  Frans  Flo.  s. 
His  style  resembles  that  of  Cornells  Cort,  with- 
out being  nearly  equal  to  that  master.  AVe  have 
by  him  the  following  prints : 

The  Four  ElemeDts  ;  represented  in  half-length  figures. 

1597 
The  Jndgment  of  Midas ;  after  Karel  van  Mander.  1589. 

CLOET.     See  Clocet. 

CLOSE  Samuel,  a  native  of  Dublin,  was  an  en- 
graver, who  was  deaf  and  dumb,  and  of  intemperate 
habits.'    He  died  in  1817. 

CLOSS  GrsTAV,  a  landscape  painter,  was  born 
at  Stutto-art  in  1840,  and  received  his  first  instruc- 
tions in°tbe  School  of  Arts  there  under  Funk,  but 
af  tenvards  studied  in  Rome,  Naples,  Munich,  Pans, 
and  other  places.  He  also  made  a  number  of 
student-tours.especiallvtotheChiem-SeemBavana, 
on  the  borders  of  which  he  died  in  1870  at  Prien. 
He  produced  a  number  of  Italian  views,  and  also 
published  'Illustrations  to  AVieland's  Oberon,'  a 
magnificent  volume  entitled  'Truth  and  Fiction,' 
and  •  Uhland  and  his  Home  atTiibingen,'  the  plates 
in  which  show  the  influence  of  Dore.  Of  his 
paintings  may  be  mentioned  : 

The  Villa  of  Hadrian. 

Eoad  near  Sorrento. 

The  Campagna  near  Rome. 

Evening  in  the  Villa  Pamfili. 

Cypresses  in  Tivoli. 

Christmas  Eve. 

The  Lonely  Inn. 

CLOSTERMANN,  Johann,  (known  in  England 
as    John   Clostekjian.)  was    born  at  Osnabriick 
in    1656.      He   w.ts   the   son   of   a   painter,  ^who 
taught  him  the  rudiments  of  drawing.     In  1679  he 
went   to   Paris,   where    he   was   engaged    by   De 
Troyes  to  paint  his  draperies.     He  came  to  Eng- 
land in  1681,  and  was  lor  some  time  employed  in 
a  similar  way  by  Riley.     After  the  death  of  that 
artist,  Clostennann  painted  the  portraits  of  several 
of  the  nobility,  though  he  was  an  artist  of  very 
limited    merit ;    but  "at   that   period   the   art  was 
in  a  very  low  state  in  England.     He  was  several 
times  in  Italy,  and   in  16?6  was  employed  at  the 
court  of  Spain,  where  he  painted  the  King  and  the 
Queen.     Portraits  of  Queen  Anne  and  the  Duke  of 
Marlborough  by  him  are  in  the  National  Portrait 
Gallery.     A  picture  similar  to  the  former  is  in  the 
Council  Chamber.  Guildhall,  and  a  replica  of  the 
latter  is  at  Blenheim.     Others  of  his  portraits  are 
the    Family    of    the  Duke  of    Marlborough,    and 
the  Duke  o"f  Rutland.     He  died  in  London  in  1713. 
CLOUET,    Albert,    (Clovet,   or    Clowet.)    a 
Flemish  engraver,  was  the  nephew  of  Pieter  Clouet, 
and  was  born  at  Antwerp  in  1624.     Following  the 
example  of  his  uncle,  he  visited  Italy  in  the  early 
part  of  his  life,  and  became  a  pupil  of  Cornells 
Bloemaert.    Among  his  first  productions  were  some 
plates  of  portraits  of  painters,  for  Bellori's  '  Vite 
de'  Pittori,'  published  at  Rome  in  1675.     He_  also 
engraved  several  portraits  for  the  work  entitled, 
'Effigies  Cardinaliuin  nunc  viventium,'  published 
at  Rome  by  Rossi.     At  Florence  he  engraved  after 
some  of  the  pictures  in  the  Pitti  Palace.     His  plates 
of  historical  subjects  are  executed  in  the  neat  and 
finished  style  of  Cornells  Bloemaert,  but  in  his  por- 
traits he  sometimes  imitated  the  manner  of  Mellan, 
and  at  others  that  of  F.  de  Poilly.     He  died  at 
Antwerp  in  1687.     The  following  are  his  principal 
prints : 
304 


PORTRAITS. 
Nicolas  Poussin,  in  Bellori's  '  Vite  de'  Pittori. 
Sir  Anthony  van  Dyek  ;  the  same. 
Cardinal  Thomas  Philip  Howard. 
Cardinal  Azzolini ;  after  Vouet. 
Cardinal  Eospigliosi":  after  Morandi. 
Cardinal  Eosetti. 

Cardinal  Francis  WUliam  of  Wiirtemburg. 
Maximilian,  Count  of  Wolfegg. 
A  Medallion  of  Pope  Alexander  VII. 

SUBJECTS   FROM   VARIOUS   MASTERS. 
The  Image  of  the  Blessed  TJmiliana ;  after  Baldimuxi. 
Sepulchral  Monument  of  Paul  III. ;  after  Bamere. 
The  Miraculous  Conception ;  after  Pietro  da  Corttma  ; 

in  two  sheets,  fine  and  scarce. 
An  Attack  of  Cavalry  ;  afttT  Borgognone  ;  fine.  _ 
The  Battle  of  Joshua  with  the  Amalekites ;  in  two 

sheets;  after  the  same. 
CLOUET,    Fras(;ois,    also     called     Jehannet, 
Jasnet,  and  more  frequently  Janet,  a  French  por- 
trait painter,  was  born,  probably  at  Tours,  between 
the  years  1516  and  1520.     His  father,  Jean  Clouet, 
the  second  of  that  name,  (whose  sobriquet  derived 
from  his  Christian  name  Jean,  Francois  also  took,) 
emigrated  from  Brussels  to  Tours,  and  after  his 
arrival   in  France  held  the  joint  offices  of  court 
painter  and  '  valet-de-chambre '  to  Francis  I.      In 
the  year  1541,  that  of  his  father's  death,  Francois 
Clouet  was,  in  consequence  of  his  father's  services, 
formally  naturahsed.  and  appointed  to  the  vacant 
position  at  court.      In  that  capacity  he  was  em- 
ployed on  the  death   of  his  patron,  in  1547,   to 
make  a  wax  cast  of  the  hands  and  face  of  the  de- 
ceased monarch  to  be  used  at  the  great  state  funeral ; 
and  again  had  to  perform  a  similar  seri-ice  on  the 
death  of  Henry  II.  in  1659.     He  retained  his  posi- 
tion as  court  "painter  also  under  Francis  IL  and 
Charles   IX.      He  was   still   li-s-ing   in   1572,  and 
died    most   likely   in    the   following   year.       His 
paintings  bear  distinct  traces  of  a  Flemish  origin, 
and   their  style  differs  widely  from  that  of   the 
Italian  artists  whose  paintings  were  then  in  vogue 
in  France;  paintings  which  were  tainted  with  an 
afEected  sentimentality,  and  a  disregard  of  nature. 
Clouet,  on  the  contrarv,  like  the  Van  Eycks  and 
Memling,  had   clearly  made   truth   and   accuracy 
his  principal  aim.     StUl  his  works  are  not  Flemish 
throughout,    as    they   possess    also    a    distinctly 
French  element,  which  is  observable  in  the  ele- 
gance that  pervades  them  as  well  as  in  the  taste 
that  grasps  the  most  advantageous  point  of  view 
from  which  to  treat  them.     His  aim  is  apparent 
on  the  surface,  and  yet  it  is  the  result  of  careful 
study.      The  more  closely  the  work  is  esammed 
the  deeper  is  the  insight  obtained  into  the  moral 
and  physical  character  of  the  person  represented. 
The   dehcacy   of    his   form   is   all   the    more    re- 
markable  from   its   being   rendered   through  the 
medium  of  simple  pale  tones  without  any  attempt 
at   chiaroscuro  ;    and    this   fact    has   but    to    be 
appreciated   for  it  to  be  at  once  admitted  what 
a  real  master  he  was  in  respect  of  lightness  of 
hand    and    certainty    of   touch.      The    following 
are   some    of    the    principal    works    ascribed    to 
him : 


Althorp. 

»» 
Antwerp. 
Berlin. 

Dresden. 

Florence. 


Earl  Spencer.  Francis  II. 

„  Mary,  Queen  of  Scots. 

Museum.  Francis  II. 

Gallery.  Francis  II. 

„  DukeofAnjou  (Henry  III.). 

Gallery.  Jeanne  de  Pisseleu,  Duchess 

of  Etampes. 
Pitti  Palace.  Henry  II. 
Vffui.  Francis  I .  .equestrian  portrait. 


PAINTERS  AND  ENGRAVERS. 


Hampton  Court.     Palace.     Francis  11. 

..  •>  Mary,  Queen  of  Scots. 

London.  Nat.  Gall.      Man's  Portrait. 

»  »  Boy's  Portrait. 

„  Hereford  House.    Mary,  Queen  of  Scots. 

Munich.  Pinakothek.      Claudia,  daughter  of  Henri 

n.  of  France. 
Paris.  Louvre.  Charles  IX. 

»  II  Elizabeth  of  Austria,  wife  of 

Charles  IX. 
Vienna.  Charles  IX.    1563. 

The  Marquis  of  Biencourt  possesses  a  remark- 
able  portrait  of  the  Duke  of  Montmorency,  besides 
other  works  by  Clouet.  There  are  in  the  British 
Museum  some  crayon  heads,  and  at  Chantilly  there 
are  now  eighty-eight  portraits  in  black  and  white 
chalk  in  the  manner  of  Holbein,  representing 
persons  eminent  at  the  French  court  in  Clouet's 
day,  which  are  considered  to  be  his  work. 

See  Lord  Ronald  Gower's  book  on  Castle 
Howard  pictures. 

CLOUET,  Jean,  (or  Cloet,)  the  elder,  a  Flemish 
painter  of  historical  subjects  and  portraits,  was 
employed  by  the  Duke  of  Burgundy,  and  was 
living  at  Brussels  in  1475.  He  died  about  1490. 
There  is  no  proof  of  his  having  visited  France, 
much  less  of  his  having  settled  at  Tours  between 
the  years  1476  and  1485,  as  has  been  asserted.  He 
was  an  artist  of  great  talent,  and  may  be  included 
among  the  celebrated  miniature  painters  of  his 
time. 

CLOUET,  Jean,  the  younger,  was  a  painter  of 
Flemish  origin  who  established  himself  in  France, 
probably  at  Tours,  prior  to  the  accession  of 
Francis  I.  It  appears  highly  probable  that  his 
father  was  the  Jean  Clouet  who  was  painter  to  the 
Duke  of  Burgundy.  He  himself  became  court 
painter  to  Francis  I.,  and  his  name  occurs  in  that 
capacity  as  e  irly  as  1518.  He  is  supposed  to  have 
been  born  ab  )ut  1485.  In  the  documents  in  which 
reference  is  made  to  him  he  is  called  Jehan,  Jehan- 
tiot,  and  Jehannet.  Besides  the  office  of  court 
painter  he  held  that  of  '  valet-de-chambre.'  There 
is  much  uncertainty  about  his  works,  but  the  fol- 
lowing are  generally  attributed  to  him :  a  small 
painting  of  Francis  I.  in  armour,  in  the  UfBzi  at 
Florence;  a  full-length  figure  of  Eleanor  of  Spain, 
wife  of  Francis  L,  at  Hampton  Court ;  and  a 
picture  of  Margaret  of  Valois,  in  the  Royal  Insti- 
tution at  Liverpool.  If  these  are  correctly  as- 
signed to  him,  it  would  appear  that  his  pictures 
were  distinguished  from  those  of  his  son  by  sharper 
outline,  and  by  a  more  antique  rendering.  He  died 
in  1541,  in  all  probability  in  Paris. 

CLOUET,  Petrus,  (also  Clowet,  Clouwet,  or 
Clovet,)  a  Flemish  engraver,  was  born  at  Antwerp 
in  1606,  and  died  there  in  1670.  After  having 
learnt  the  rudiments  of  the  art  in  his  native  city, 
he  went  to  Italy,  and  at  Rome  became  a  pupil  of 
Spierre,  and  Bloemaert.  On  his  return  to  Antwerp, 
he  engraved  several  portraits  and  subjects  after 
Rubens.  They  are  executed  with  the  graver  in  a 
firm,  clear  manner,  resembling  tlie  style  of  Pontius, 
but  are  not  equal  to  the  woi'ks  of  tliat  master.  His 
plates,  particularly  those  after  Rubens,  are  con- 
Biderably  esteemed.  We  have  the  following  by  him  : 

PORTRAITS. 
Pietro  Aretiuo. 
Tliomas  a  Kempis. 
Ferdinando  Cortes. 
William  Cavendish,  Duke  of  Newcastle ;  after  Diepen- 

beeck. 
Christoffel  van  der  Lauen,  painter ;  after  Van  Dyck. 
Theodorus  Eogiers,  Goldsmith  ;  after  the  same. 
X 


Anne  Wake,  Countess   of  Sussex    holding  a  Fan  of 

Feathers  ;  after  the  same. 
Henry  Rich,  Earl  of  Holland ,  after  the  same. 
Some   of   the   Plenipotentiaries   at    the    Congress    of 

Munster  ;  after  Van  Hulle. 

SnBJECTS    FROM    VARIOUS   MASTERS. 

The  Descent  from  the  Cross ;  after  Hubens. 

The  Death  of  St.  Anthony;  after  the  same;  fine  and 

scarce. 
St.  Michael  discomfiting  the  Evil  Spirit;   after   the 

same. 
The  Epitaph  of  Rubens,  with  Accessories. 
Several  gallant  Figures  in  a  Garden ;  called  The  Garden 

of  Love.     The   lirst   impressions  are  with  Flemish 

verses ;  fine  and  scarce.    Those  with  the  address  of 

C.  van  Meiiin  are  retouched,  and  very  inferior. 
A  large  Landscape,  representing  Winter,  with  the  Snow 

falling,  and  a  Stable  with  Cows ;  belonging  to  a  set 

of  six  landscapes,  of   which    five   are  engraved  by 

JBohwert. 
The  Virgin  suckling  the  Infant  Jesus ;  after  Van  Dyck, 

who  has  etched  the  same  subject. 
A  Company  of  Cavaliers  and  Ladies  at  Table,  said  to 

be   the   Family  of  the  Duke  of  Newcastle ;   after 

Viepenbeeck. 

CLOVIO,  Giorgio  Giulio,  (called  Macedo,)  was 
an  extraordinary  artist,  who  was  born  at  Grizane  in 
Croatia  in  1498.  After  learning  the  rudiments  of 
drawing  in  a  convent  of  his  own  country,  he  went 
to  Rome,  where  he  was  patronized  by  Cardinal 
Grimani.  In  theyears  1516  to  1519Clovioexecuted 
for  him  several  excellent  pen-and-ink  designs  for 
medals  and  seals ;  thereby  acquiring  the  habit  of 
designing  small  figures,  which  he  executed  with  a 
taste,  accuracy,  and  firmness  that  gave  grandeur 
to  miniature.  He  entered  the  scljool  of  Giulio 
Romano,  and  devoted  himself  entirely  to  miniature 
painting, — a  branch  of  art  which  he  ennobled  by 
his  inimitable  taleut,  and  in  which  he  acquired  a 
reputation  that  ranks  him  with  the  great,  at  a  period 
which  immediately  succeeded  the  most  distin- 
guished epoch  of  Roman  excellence.  In  his  de- 
sign of  the  figure,  extraordinary  as  it  may  appear, 
he  evinces  something  of  the  greatness  of  the 
Roman  school,  and  of  Michelangelo,  whose  works 
and  those  of  Raphael  he  especially  studied,  and 
the  naturalist  will  find  every  insect  delineated 
with  astonishing  correctness,  although  on  so  dimi- 
nutive a  scale  as  to  require  the  use  of  a  magnifier. 
His  works  were  executed  solely  for  tlie  sovereigns 
and  princes  of  his  time,  in  whose  libraries  were 
found  books  embellished  with  his  miniatures, 
painted  with  extraordinary  force  and  beauty  of 
colouring,  with  the  most  correct  design.  The 
most  extraordinary  work  of  Clovio  is  the  pro- 
cession of  Corpus  Domini,  at  Rome,  painted  in 
twenty-six  pictures,  which  occupied  the  artist  dur- 
ing nine  years.  The  rich  covers  to  this  masterpiece 
were  executed  by  Benvenuto  Cellini.  At  Milan, 
the  Cistercians  possess  a  picture  by  Clovio  of  the 
'  Descent  from  the  Cross,'  which  breatlies  all  the 
spirit  of  the  golden  age  of  Roman  art.  He  died  at 
Rome  in  1578.  His  cognomen  Macedo,  or  Macedone, 
was  given  bim,  it  is  supposed,  because  his  ancestors 
were  of  Macedonia.  His  works  are  so  incredibly 
numerous  that  their  description  would  fill  a  large 
volume;  we  tliereforo  give  only  a  short  list  of 
some  of  his  principal  productions  : 
Florence.  Pitti  Pal.      Deposition,  signed  JOLIUS  macedo 

FA. 

London.    Soane  Coll.    The   Epistle   of    St.    Paul   to   the 

Romans. 

„  British  Mus.  The    Victories    of    the    Emperor 

{Grenville        Charles  V.     (Tirelve  miniatures 

Collection.)      painted  for  Philip  II.,  King  of 

Spain,  formerly  in  the  KscorialS 

305 


A  BIOGRAPHICAL  DICTIONARY  OF 


Naples.     Soyal  Coll.    The  Book  of  Our  Lady,  with  the 
rich  and  precious  covers  of  Ben- 
venuto  Cellini. 
J,  „  A   Latin    Missal,   with   numerous 

pictures    {painted  for  Cardinal 
Farnese).     1546. 
Fans.         Lcuvre.  A  Latin  Psalter,  with  many  beauti- 

ful miniatures  {executed for  Fope 
Paul  III.).  1542. 
Borne.  Vatican  Lib.  Dante's  Divina  Commedia. 
In  many  of  his  illustrations  of  Choral,  Mass,  and 
Prayer-Books,  and  in  the  execution  of  small  por- 
traits for  lockets,  he  was  assisted  by  his  pupils, 
amongst  whom  were  Bartolommeo  Torri,  Bernar- 
dino Buontalenti,  and  Marco  Du  Vail. 

CLOWES,  Butler,  a  mezzotint  engraver,  who 
worked  in  the  latter  half  of  the  18th  century,  and 
died  in  1782.     He  engraved  from  his  own  designs, 
and  also  after  Heemskerk,  Stubbs,  and  others. 
CLOWET.     See  Clouet. 
COBERGHER.     See  Koeberger. 
COBLENT,    Hermann,    (or   Coblentz,)  was   a 
Flemish  ensrraver,  who  flourished  from  about  1570 
to  1590.     He  was  a  pupil  of  Hans  Collaert,  whose 
works  Coblent's  plates  so  much  resemble  in  their 
neat  and  finished  manner  that  they  are  often  con- 
foimded  with  them.     Coblent  marked  his  plates 

with  a   cipher  composed  of  H.  C.  F.     Jcx  * 

We  have  by  him : 

The  Four  Evangelists ;  four  plates. 

Lacretia  under  an  Arch. 

A  set  of  the  Heathen  Deities,  single  figures  under 
Arches. 

A  Man  seated  at  a  Table,  and  a  Woman  behind  him. 

COBO  T  GUZMAN,  Josef,  a  Spanish  historical 
painter,  was  bom  in  1666,  at  Jaen,  where  he 
learned  to  paint  from  Valois.  He  settled  at  Cor- 
dova, where  he  died  in  1746.  Some  paintings  by 
him  are  in  the  churches  of  that  town,  and  are  taste- 
fully executed  in  the  style  of  Sebastian  Martinez, 
by  whom  Valois  was  instructed. 

COCCAPANI,  SiGiSMONDO,  an  Italian  painter, 
who  was  bom  at  Florence  in  1585.  He  at  first 
studied  literature  and  mathematics,  but  abandoned 
them  for  painting,  and  became  a  scholar  of  Cigoli. 
In  1610  he  went  to  Italy,  and  after  his  return  home 
gained  considerable  reputation  both  as  a  painter 
and  an  architect.     He  died  in  ]  642. 

COCCETTI,  PiETRO  Paolo,  was  a  native  of 
Italy,  who  flourished  about  the  year  1725.  He 
engraved  some  plates  of  architectural  subjects, 
which  are  executed  in  a  slight,  indifferent  style. 

COCCHI,  PoMPEO,  was  a  painter  who  lived  in 
the  early  part  of  the  16th  century.  In  the  cathedral 
of  Perugia  is  a  '  Virgin  and  Child '  by  him  with 
the  date  '  Anno  m.d.  xxv.'  (?  1627).  No  certain  in- 
formation exists  with  respect  to  his  birth  or  death. 

COCHEREAU,  LSon  Mateieu,  was  a  French 
painter,  bom  at  Montigny-le-Gannelon  near  Cha- 
teaudun  in  1793.  He  was  a  pupil  of  David,  of 
the  interior  of  whose  studio  he  has  left  us  a  paint- 
ing which  now  hangs  in  the  Louvre.  He  died  on 
the  coast  of  Africa  in  1817,  when  returning  from 
Greece  with  his  uncle,  Pierre  Prevost,  the  painter 
of  panoramas. 

COCHET,  Augustine,  a  French  painter,  bom  at 
St.  Omer  in  1788.  She  was  a  pupil  of  Ch^ry,  and 
devoted  herself  chiefly  to  genre  subjects  and  por- 
traits.    She  died  in  Paris  in  1832. 

COCHET,  Joseph  Antoine.    See  Coget. 

COCHIN,  Charles  Nicolas,  the  elder,  a  French 
line-engraver,  was  bom  in  Paris  in  1688.  His 
father,  Charles  Cochin,  was  a  painter,  and  Charles 
306 


Nicolas  followed  the  same  profession  until  he  was 
twenty-two  years  of  age,  when  he  abandoned 
painting  and  devoted  himself  entirely  to  engraving. 
In  1731  he  became  an  Academician,  and  on  the 
occasion  of  his  reception  engraved  the  portraits  of 
Jacques  Sarrazin  and  Eustache  Le  Sueur.  He  then 
turned  his  attention  to  the  fancy  subjects  of 
Watteau,  Lancret,  and  Chardin,  after  whom  he 
executed  several  fine  works.  He  also  assisted  his 
son,  Charles  Nicolas  Cochin,  with  the  plates  of  the 
ceremonies  at  the  marriage  of  the  Dauphin  with 
the  Infanta  of  Spain  in  1745.  He  died  in  Paris  in 
1754,  having  engraved  about  one  hundred  plates, 
among  which  are  many  vignettes  for  the  '  Virgil ' 
of  1742  and  other  books.  The  undermentioned  are 
his  best  works : 

La  Marine  de  Village  :  after  Watteau. 
Decoration  do  Bal  pare  ;  after  C.  N.  Cochin,  fits.     1745. 
Dfeoration  du  Bal  masque  ;  after  the  same.     1745. 
Decoration  et   Dessein  du  Jeu  tenn  par  le  Roy  et  1» 

Keine.  1747  ;  after  the  same. 
Le  Jeu  du  Pied-de-bceuf  ;  after  De  Troy. 
Le  Jeu  de  Colin-Maillard  ;  after  Lancret. 
Fuyez  Iris  ;  after  the  same. 
L'Amant  sans  gene  ;  after  the  same. 
La^Blanchisseuse  ;  La  Fontaine  ;  after  Chardin. 
L'Ecureuse  :  Le  Gar^on  Cabaretier  ;  after  the  same. 
The  Funeral  of  the  Queen  of  Sardinia,  1735;   after 

Perault  and  Slodtz. 

Louise  Magdeleine  Hortemels,  the  wife  of 
Cochin,  likewise  practised  engraving.  She  was 
born  in  Paris  in  1686,  and  married  in  1713.  Among 
the  plates  which  she  executed  two  of  the  best  are 
'  La  Charmante  Catin '  and  '  Le  Chanteur  de 
Cantiques,'  which  form  part  of  the  set  of  the 
'  Charges  des  Rues  de  Paris,'  designed  by  her  son. 
She  also  completed  his  large  plate  of  the  '  Feu 
d 'artifice '  at  Rome,  which  greeted  the  birth  of  the 
Dauphin  in  1729,  and  often  assisted  him  in  other 
works.     She  died  in  Paris  in  1767. 

Further  details  respecting  Cochin  and  his  works 
are  to  be  foimd  in  MM.  Portalis  and  B^raldi's 
'  Graveurs  du  dix-huitifeme  siecle,'  i.  492-502. 

EJE.O. 

COCHIN,  Charles  Nicolas,  the  younger,  an 
eminent  French  line-engraver,  and  the  most  cele- 
brated of  the  artists  of  this  family,  was  the  son 
and  pupil  of  the  preceding.  He  was  bom  in  Paris 
in  1715,  and  produced  his  first  engraving,  a  'St 
Joseph,'  in  1727,  and  his  first  essay  in  etching, 
'The  Flight  into  Egypt,'  in  1730.  In  1735  ap- 
peared his  plate  after  Pannini  of  the  '  Feu  d'arti- 
fice '  with  which  the  Cardinal  de  Polignac  cele- 
brated at  Rome  the  birth  of  the  Dauphin  in  1729, 
and  in  1736  that  of  the  Illumination  and  Fireworks 
with  which  the  Duke  of  Orleans  entertained  the 
Dauphin  at  Meudon  in  1735.  These  plates,  together 
with  that  of  the  '  Decoration  de  I'lUumination  et 
Feu  d'artifice  '  at  Versailles  on  the  occasion  of  the 
marriage  of  Madame  Premiere  with  the  Infant  Don 
Philip,  revealed  the  talent  which  Cochin  possessed, 
and  secured  his  admission  into  the  Academy  in 
1741.  Besides  engraving,  he  made  many  draw- 
ings for  vignettes,  among  which  may  be  noted  the 
illustrations  to  the  Abbe  Desfontaines'  translation 
of  Virgil,  published  in  1742,  to  the  works  of 
Rousseau,  1743,  and  to  those  of  Boileau,  1746. 
In  1745  the  marriage  of  the  Dauphin  gave  Cochin 
another  opportunity  for  the  display  of  his  wonder- 
ful skill  in  the  representation  of  vast  crowds  in 
motion,  nowhere  seen  to  greater  advantage  than  in 
his  famous  drawing  of  the  '  Bal  masque '  at 
Versailles,  which  is  still  preserved  in  the  Louvre. 


PAINTERS  AND  ENGRAVERS. 


This  and  the  '  Bal  par6 '  were  engraved  by  hie 
father.  Not  many  months  elapsed  before  he  was 
called  upon  to  commemorate  the  Funeral  and 
Interment  of  the  same  Spanish  Princess,  in  1746. 
About  this  time  the  vignettes  engraved  by  Cochin 
became  fewer,  for  he  had  become  a  courtier,  and 
at  the  close  of  1749  he  was  chosen  to  accompany 
to  Italy  the  Marquis  of  Marigny,  the  brother  of 
Madame  de  Pompadour.  On  his  return  in  ]  751  the 
order  of  St.  Michael  was  bestowed  upon  him,  and 
he  was  received  as  an  Academician  without  having 
executed  the  usual  trial  work.  In  1752  he  suc- 
ceeded Coypel  as  Keeper  of  the  King's  Drawings, 
and  in  1758  he  published  his  '  Voyage  d'ltalie.' 
From  this  time  forth  Cochin's  labours  were  devoted 
chiefly  to  works  connected  with  the  court,  such  as 
the  '  Medallic  History  of  the  Reign  of  Louis  XV.,' 
the  etchings  of  the  Ports  of  France  after  Joseph 
Vemet,  which  were  completed  by  Le  Bas,  and  the 
'  Parade  '  and  book-plate  of  Madame  de  Pompadour, 
whom  he  assisted  in  her  etchings.  In  1764  he 
designed  and  engraved  an  allegorical  cartouche, 
representing  the  sun  in  an  eclipse,  to  contain  verses 
by  Favart  upon  the  convalescence  of  the  favourite, 
but  she  had  a  relapse,  and  died  a  few  days  later. 
The  plate  was  then  suppressed,  and  proofs  from  it 
are  very  rare.  He  also  wrote  several  works  on  the 
fine  arts.  There  were,  moreover,  but  few  celebrities 
of  the  period  in  France  whose  portraits  he  did  not 
draw  in  pencil  or  in  crayons,  with  much  skilful 
delineation  of  character,  and  some  of  which  he 
himself  engraved.  Cochin  died  in  Paris  in  1790, 
after  having  exercised  for  nearly  forty  years  no 
inconsiderable  influence  upon  art,  for  the  Marquis 
of  Marigny  seldom  took  any  important  step  without 
first  coming  to  him  for  advice,  which  was  always 
conscientiously  given. 

The  '  Catalogue  de  I'CEuvre  de  C.  N.  Cochin  fils  ' 
was  published  by  C.  A.  Jorabert  in  1780.  MM. 
Portalis  and  B^raldi  have  given  a  full  account  of 
Cochin's  life  and  works  in  their  '  Graveurs  du  dix- 
huitidme  siecle,'  i.  503-570,  and  many  interesting 
details  of  the  earlier  years  of  his  life  are  to  be  found 
in  his  own  '  Memoires,'  published  by  M.  Henry  in 
1880.  The  following  are  the  principal  portraits 
etched  or  engraved  by  him : 

Louis  XV.  (Schola  Martis),  an  allegory.    1770. 

Louis  XV.,  a  medallion  in  profile. 

The  Comte  de  Caylus.    1752. 

Joachim  Gras,  Treasurer  of  France.     1753. 

The  Duke  of  La  VaUiere.     1757. 

The    Marquis    of    Vandieres,  afterwards    Marquis   of 

Marigny  ;  two  plates.     1752,  1757. 
Jean  Restout,  painter.  R.E.G. 

COCHIN,  Jacques  Nicolas.     See  TAEDiEn. 

COCHIN,  Nicolas,  called  the  Elder,  a  French 
draughtsman  and  engraver,  was  the  son  of  a  painter 
named  Noel  Cochin.  He  was  born  at  Troyes  in 
1610,  and  about  1635  went  to  Paris,  where  he  died 
in  1686.  He  often  unitated  and  copied  Callot,  but 
chose  for  his  model  De  la  Belle,  some  of  whose 
drawings  he  engraved.  Like  these  two  artists  he 
excelled  in  small  figures,  which  he  grouped  and 
delineated  with  life-like  animation.  His  specialty 
was  topography,  including  battles,  sieges,  and  en- 
campments. He  engraved  several  hundred  sub- 
jects, the  most  important  of  which  are  those  which 
he  executed  for  the  '  Glorieuses  Conquetesde  Louis 
le  Grand,'  called  the  '  Grand  Beaulieu,'  published 
between  the  years  1676  and  1694.  The  best  of 
these  plates  is  that  of  the  'Siege  of  Arras,'  en- 
graved on  sixteen  plates  by  Cochin  and  Frosne. 
i  2 


iJicolas  Cochin  is  the  best  of  the  engravers  whom 
Troyes  has  produced.  His  drawing  is  firm,  and 
his  engraving  fine  and  delicate.  His  plates  are 
marked  with  his  name  in  full,  or  with  his  initials 
only,  or  with  a  monogram.  M.  Corrard  de  Breban 
has  given  in  his  '  Graveurs  Troyens,'  1868,  a  list  of 
Cochin's  works,  among  which  the  following  are 
the  best : 

The  Life  of  the  Virgin  ;  after  Albrecht  DiXrer  ;  18  plates. 

The  Marriage  in  Cana;  after  Paolo  Veronese. 

The  Miracle  of  the  Loaves ;  after  Devoa. 

The  Parable  of    the    Prodigal    Son;    after  Audran; 
4  plates. 

Christ  bearing  the  Cross  ;  after  Callot. 

The  Ascension  of  the  Virgin  ;  after  the  same. 

The  Passion  ;  12  plates. 

The  Conversion  of  St.  Paul. 

The  Procession  of  St.  Genevieve  in  1652;  extremely 
curious. 

The  Entry  of  Louis  XIV.  and  his  Queen  into  Paris  in 
1660  ;  an  enormous  work  composed  of  several  plates. 

The  Entry  of  the  Queen  of  Sweden.     1658. 

The  Fair  of  Guibray  ;  after  F.  Chamel.     1658. 

Portrait  of  Boutmie,  the  goldsmith  ;  rare  and  highly 
esteemed. 

View  of  Toumay  ;  after  Van  der  Meulen ;  2  sheets. 

R.E.G 

COCHIN,  Noel,  a  painter,  draughtsman,  and 
engraver,  bom  at  Troyes  in  1622,  was  the  half- 
brother  of  Nicolas  Cochin.  He  studied  painting  at 
Rome,  devoting  his  attention  especially  to  land- 
scapes, and  was  working  in  Paris  in  1667.  About 
1670  he  went  to  Venice,  and  never  left  that  city 
until  his  death,  which  took  place  in  1696.  M. 
Corrard  de  Breban  has  pointed  out  in  his  '  Graveurs 
Troyens  '  that  there  has  hitherto  been  a  great  con- 
fusion between  the  engravings  of  the  two  brothers, 
owing  to  their  initials  having  been  the  same,  but 
that  they  may  easily  be  distinguished  by  the  vast 
difference  in  talent  which  exists  between  them,  the 
work  of  Noel  Cochin  being  below  mediocrity.  He 
signed  his  plates  sometimes  with  the  initials  N.  C, 
sometimes  with  his  name  preceded  by  Noel,  Natalis, 
or  No6.  Twenty-three  of  the  plates  of  the '  Tabulae 
selectse  et  explicatae,'  published  by  Catherine  Patin 
at  Padua  in  1691,  are  signed  with  the  name  of 
Cochin,  but  with  variable  initials.  Thirteen  of 
these,  l5earing  the  initials  N.  B.,  are  probably  the 
work  of  Nicolas  Robert,  the  son  of  Noel  Cochin. 
The  remaining  ten  are  by  Noel  Cochin,  as  are  also 
the  following  plates : 

The  Marriage  in  Cana  ;  after  Andrea  Vicentino ;  signed 

Natal.  Cochin. 
View  of  Paris  ;  4  sheets.     1669. 
The  Cries  of  Paris ;  8  plates.  K.E.G. 

COCHRAN,  William,  bom  at  Stratheam  in 
Clydesdale,  in  1738,  received  his  first  instruction 
at  the  Academy  of  Painting  at  Glasgow,  founded 
by  the  two  celebrated  printers,  Robert  and  Andrew 
Foulis.  About  1761  he  went  to  Italy  and  studied 
under  Gavin  Hamilton,  and  on  his  return  to  Glas- 
gow about  1766  he  practised  portrait  painting  both 
in  oil  and  miniature.  Some  pieces  from  fable, 
executed  by  him  when  at  Rome,  are  to  be  found  in 
Glasgow.  He  was  a  modest  artist,  and  never  ex- 
hibited his  works,  nor  put  his  name  to  them.  He 
died  at  Glasgow  in  1785,  and  was  buried  in  the 
cathedral,  where  a  monument  was  erected  to  his 
memory. 

COCK,  Frans  de.     See  De  Cock. 

COCK,  HiERONiMUS,  (or  Kock,)  a  Flemish 
painter  and  engraver,  was  born  at  Antwerp  in 
1510   and  died  there  in  1570.     He  was  admitted 

307 


II 


A  BIOGRAPHICAL  DICTIONARY  OF 


into  the  Guild  of  St.  Luke  in  1545  as  a  painter,  but 
lie  soon  after  abandoned  painting,  and  applied 
liimaelf  to  engraving  and  the  business  of  a  print- 
seller.  In  the  Belvedere  at  Vienna,  there  is  a 
painting  of  an  ideal  vievr  of  Rome  by  him. 
When  at  Rome,  where  he  stayed  some  time,  he 
became  acquainted  with  Vasari,  whom  he  assisted 
in  the  execution  of  the  biographies  of  the  Dutch 
engravers.  We  have  several  plates  by  him  after 
his  brother  Mattliys,  Peeter  Brueghel,  Jerom  Bosch, 
L.  Lombard,  and  Frans  Floris ;  they  are  executed 
in  a  slight  manner,  and  without  much  effect.  He 
sometimes  marked  ^ 

his  plates  H.  Cock  '^P^fe^^^  ^'^sc 
fecit ;    and   some- 
timee    with     this 
device : 

The  following  are  his  principal  works : 

PORTRAITS   AND   SUBJECTS   FROM   HIS   OWN   DESIGNS. 

Francis  II.,  King  of  France  and  Scotland. 

Mary,  Queen  of  Scotland  and  France. 

Oustavus,  King  of  Sweden. 

Soliman,  Emperor  of  the  Turks. 

Camelia,  Daughter  of  the  Emperor. 

Six  Portraits  on  one  sheet ;  of  Guido  Cavalcanti,  Dante, 

Boccaccio,  Petrarch,  Politian,  and  Ficinus. 
A  set  of  twenty-four  Portraits  of  Flemish  painters, 

with  Latin  verses  by  Lampsonius.    They  are  mostly 

marked  /.  H.    TV.,  for    Wierix,  the  publisher;    and 

are  entitled,  Pictorum   aliquot   celehrium    Gtrmanice 

infei'ioris  EJ^gies,  ^c.     1572. 
The  Funeral  Pomp  of  Charles  V.,  large  frieze ;  Hieroni- 

mus  Cock  invent.     1559. 
Twelve   Plates;    entitled    Divi    Caroli    V.,  ex  multis 

pracipue   Victoriarum  imagines.    Hieronymus  Coccius 

PictoT  Antio.     1556. 
Moses  with  the  Tables  of  the  Law ;  H.  Cock  mv.  et  exc. 
St.  Christopher  with  the  Infant  Jesus  on  his  shoulders. 

SUBJECTS   AFTER   VARIOUS    FLEMISH    MASTERS. 

A  set  of  fifteen  Landscapes  ;  after  Matthys  Cock. 

A  large  Landscape,  with  the  Feast  of  St.  George  ;  after 
the  same. 

Samson  and  Delilah  ;  after  Marten  Heemskerk, 

Daniel  in  the  Lions'  Den  ;  after  the  same. 

A  set  of  eight  Female  Figures,  six  from  the  Old  Testa- 
ment, Jael,  Ruth,  Abigail,  Judith,  Esther,  and  Su- 
sannah ;  and  the  Virgin  Mary,  and  Mary  Magdalene  ; 
after  the  same. 

An  Allegory,  Fraud  and  Avarice ;  after  the  same. 

lufant  Bacchanalians  dancing ;  after  the  same. 

The  Kesurrection  ;  after  Peeter  Brueghel,  the  elder. 

The  Temptation  of  St.  Anthony  ;  after  the  same. 

The  Temptation  of  St.  James ;  after  the  same.     1565. 

The  La-st  Judgment ;  after  the  same. 

The  Laboratory  of  an  Alchemist ;  after  the  same. 

The  Dispute  between  the  Fat  and  the  Lean ;  after  the 
same. 

A  set  of  twelve  Landscapes  with  subjects  from  the 
Bible  ;  after  the  same. 

A  grotesque  subject  of  the  great  Fish  devouring  the 
little  ones;  a  whimsical  composition;  after  Jerom 
Bosch. 

The  Temptation  of  St.  Anthony  ;  after  the  same. 

St.  Martin  in  a  Boat,  surrounded  by  Devils ;  after  the 
same. 

An  lucantation  ;  after  the  same.     1561. 

Shrove  Tuesday ;  a  Woman  making  Pancakes.    1567- 

COCK,  Jak  Claus  de.  See  De  Cock, 
COCK,  Matthys,  (or  Koce),  the  brother  of 
Hieronimus  Cock,  was  bom  at  Antwerp  about  the 
year  1500  or  1505,  He  was  one  of  the  early 
Flemish  painters  of  landscapes,  and  one  of  the  first 
of  his  countrymen  who  reformed  the  art  from  the 
stiff  Gothic  style  that  existed  before.  Several 
of  his  landscapes  were  engraved  by  his  brother 
308 


igraver, 

r 


Hieronimus,  and  possess  considerable  merit  for  the 
time  at  which  they  were  executed.  The  '  Tower 
of  Babel,'  by  him,  is  in  the  Belvedere,  Vienna. 
He  died  in  1652. 

COCK,  PiETER.     See  Koeck. 

COCKBDRN,  Major-General  James  Pattison, 
an  ofiBcer  of  the  Artillery,  who  was  bom  in  1778, 
is  known  as  the  author  of  several  books  of  travel 
which  he  illustrated  :  '  A  Voyage  to  Cadiz  and 
Gibraltar,'  with  30  coloured  plates,  published  in 
1815;  'Swiss  Scenery,'  with  62  plates,  in  1820; 
'  The  Route  of  the  Simplon,'  in  1822 :  '  The  Valley 
of  Aosta,'  in  1823 ;  and  '  Pompeii  Illustrated,'  in  > 
folio,  in  1827,     He  died  at  Woolwich  in  1847,  J 

COCKE,  Henry,  a  decorative  painter  and  a  pupil  ■ 
of  Salvator  Rosa  in  Italy,  where  he  spent  some 
time  when  a  young  man,  worked  in  England  about 
the  middle  of  the  17th  century.  He  was  employed 
by  William  III.  to  repair  some  of  the  paintings 
in  the  Royal  Palaces.  He  painted  the  choir  of 
New  College  Chapel,  Oxford,  and  the  staircase  at 
Ranelagh  House. 

COCKELS,  Joseph,  a  painter  of  hunting  subjects, 
was  bom  in  Brussels  in  1786,  and  died  in  Bavaria 
in  1851. 

COCKQ,  Paul  Joseph  de.     See  De  Cockq, 

COCKSON,  Thomas,  was  an  English  engraver, 
who  flourished  from  about  1610  to  1630. 
He  engraved  several  portraits  in  a  neat  but 
stiff  style.  His  plates  are  sometimes  marked 
with  the  cipher 

We  have  by  him  the  following  portraits,  &c. : 

King  James  I.  sitting  in  Parliament. 

King  Charles  I.  in  like  manner. 

The  Princess  Elizabeth,  daughter  of  James  I. 

Louis  XIII. ,  King  of  France. 

Marie  de  Medicis. 

Matthias,  Emperor  of  Germany. 

Demetrius.  Emperor  of  Russia. 

Henry  of  Bourbon,  Prince  of  Conde, 

Conciui,  Marquis  of  Ancre. 

Charles,  Earl  of  Nottingham. 

Francis  White,  Bishop  of  Norwich. 

Samuel  Daniel.     1609. 

T.  Coryat. 

The  Bevels  of  Christendom. 

I 

COOLERS,  Jan  Baptist,  a  Dutch  painter  of 
portraits  and  historical  subjects,  was  bom  at 
Maestricht  in  1692.  He  was  the  son  and  pupil  of 
Philip  Coders,  and  worked  for  a  time  at  Rome 
^vith  Servandoni.  After  his  return  he  established 
himself  at  Liege,  and  died,  wealthy  and  honoured, 
in  1762.  Some  of  his  works  exist  at  Li^ge,  but 
they  possess  no  great  merit. 

His  daughter,  Maria  Lambertine,  engraved 
some  plates  in  the  style  of  Adriaan  van  Ostade. 

COCLERS,  Louis  Bernard,  was  born  at  Maes- 
tricht in  1740.     He  was  instructed  by  his  father, 
Jan  Baptist  Coders.     He  passed   three  years  in 
Italy,  and  after  his  return  he  painted  portraits  and 
cabinet   pieces,  in  the  manner  of  Mieris,  Metsu, 
and  Schalken  at  Maestricht,  Nimeguen,  Dordrecht, 
and  Leyden,  where  he  settled  in  1769.     Compro- 
mised politically,  he  left  Holland  in  1787,  and  went 
to  Paris,  where  he  remained  several  years.    He 
again  returned  and  resided  at  Amsterdam,  where 
he  painted  portraits  and  cabinet  pictures,  which 
he  exhibited  from  the  year  1808  to  1813.     One  of 
his  pictures  is  in  the  Museum  of  that  city. 
He  died  at  Li^ge  in  1817.     He  was  also 
a  print-seller,  and  engraved  166  plates; 
they  are  signed  with  the  ciphers,  or  his 
initials. 


JS 


PAINTERS  AND  ENGRAVERS. 


Among  liis  best  plates  may  be  mentioned : 

Ad  Old  'Woman  with  an  Owl ;  after  F.  Hals. 
A  Dutch  Gentleman  reading  ancl  smoking. 

COOLERS,  Philip,  a  Dutch  painter,  who  flour- 
ished at  Maestricht  during  the  latter  part  of  the 
17th  century.  He  studied  in  Italy,  and  on  his 
return  to  his  native  land  was  appointed  painter  to 
Joseph  Olement  of  Bavaria,  Prince- Bishop  of  Li^ge. 
He  was  a  skilful  portrait  painter,  and  died  early  in 
the  18th  century,  at  the  age  of  76. 

OOCX,    GONZALVE,  (or   COQUES,   GoKZALES,)  WaS 

born  at  Antwerp  in  1614.  He  received  his  ele- 
mentary instruction  from  Peeter  Brueghel  III.,  as 
whose  pupil  he  entered  the  Guild  of  St.  Luke  in 
1627  ;  he  then  studied  under  David  Byckaert 
the  elder  (whose  daughter,  Catharina,  he  married 
in  1643),  but  he  owed  the  fame  which  he  after- 
wards acquired  to  the  excellent  disposition  with 
which  nature  had  favoured  him.  fie  was  made 
a  master  of  the  Guild  in  1640-41  ;  and  in  1665-66, 
and  again  in  1680-81,  he  was  its  Dean.  In  1671 
the  Count  de  Monterey,  Governor-General  of  the 
Low  Countries,  appointed  him  his  ofBcial  painter. 
His  first  subjects  were  conversations  and  gallant 
assemblies;  but  the  extraordinary  reputation  Van 
Dyck  had  acquired  by  his  admirable  portraits, 
inspired  him  with  the  ambition  of  distinguishing 
himself  in  like  manner,  though  on  a  different 
scale.  He  painted  portraits  of  a  small  size,  and 
endeavoured  to  give  them  the  correctness  and 
simple  character  of  nature  which  we  admire  in  the 
portraits  of  Van  Dyck.  His  success  was  equal  to 
his  merit.  His  single  heads,  and  his  groups  of 
family  portraits,  were  esteemed  superior  to  those  of 
every  artist  of  his  time,  Van  Dyck  alone  excepted. 
He  was  employed  by  the  principal  potentates  of  his 
day,  among  whom  were  Charles  I.,  the  Archduke 
Leopold,  and  the  Prince  of  Orange.  To  those  who 
have  not  seen  the  pictures  of  this  extraordinary 
artist,  it  will  be  difficult  to  give  an  idea  of  the 
beauty  of  his  style.  Although  his  heads  rarely 
exceed  the  length  of  an  inch  and  a  half,  they  have 
all  the  breadth,  freedom  of  touch,  and  animated 
character  of  the  portraits  of  Van  Dyck.  Hence  he 
is  sometimes  called  the  '  Little  Van  Dyck.'  The 
heads  and  hands  are  drawn  with  the  utmost  cor- 
rectness ;  his  colouring  has  the  freshness,  and  his 
draperies  the  ease,  that  we  admire  in  the  works  of 
that  master.  In  regarding  them,  we  lose  sight  of 
the  scale  on  which  they  are  drawn,  and  they  assume 
the  size  of  life.  He  was  peculiarly  hnppy  in  the 
composition  and  arrangement  of  his  family  groups, 
and  the  accessories  which  accompany  them.  Cocx 
died  at  Antwerp  in  1684.  His  compositions  are 
few  in  number,  and  are  extremely  valuable  :  there 
are  but  46  described  in  Smith's  '  Catalogue  raisonne,' 
vol.  4  and  Suppl.  It  is  supposed  that  as  he  Wiis 
wealthy,  he  painted  more  for  pleasure  than  for 
profit ;  but  of  this  there  is  no  proof.  He  painted 
landscapes  skilfully,  and  dogs  and  other  animals 
with  much  success.  Among  his  principal  works 
are: 

Antwerp.       Museum.     Portrait  of  a  Lady. 
Berlin.  Museum.     Portrait  of  C'ornelis  de  Eie,  the 

writer  on  art. 

Philosopher  and  his  Wife.     1()40. 

Family  group. 

Portrait  of  a  Man. 

Portrait  of  a  Lady. 
Dresden.         Gallery.      Family  Portrait. 
Hague.  Gallery.      Interior    of    a    Picture    Gallery. 

{The  fyures  and  accessories  are 


Cassel.  Gallery. 

Darmstadt.     Gallery. 


iy  Cocx.  The  paintings,  forty- 
four  in  number,  are  by  contem- 
porary artists,  several  of  whom 
have  signed  their  work.) 

London.  A'at.  Gal.    Family  Portraits.     (Party   in    a 

garden.) 
^  „  „  Portrait  of  a  Lady. 

Paris.  Louvre.        The  Artist  and  his  Family. 

Petershurg.    Hermitage.  Portrait  of  a  Man. 

COCXIE,  MiCHiEi,  VAN.     See  Cosie. 

CODA,  Bartolommeo,  (or  Codi,)  flourished 
about  the  year  1543.  He  was  called  Da  Rimini, 
as  was  also  his  elder  brother  Francesco,  who 
painted  in  1533.  He  was  instructed  in  the  art 
by  his  father,  Benedetto,  whom  he  surpassed.  In 
the  church  of  San  Rocco  at  Pesaro,  is  a  fine  picture 
by  this  master,  bearing  the  above  date ;  which 
Lanzi  says  in  every  respect  bears  the  character  of 
the  golden  age  of  the  art.  It  represents  the  Virgin 
and  Infant  enthroned,  with  a  Choir  of  beautiful 
Cherubs,  and  with  St.  Roch  and  St.  Sebastian. 

CODA,  Benedetto,  (or  Codi,)  was  a  native  of 
Ferrara,  born  about  the  year  1460,  and  was  a  dis- 
ciple of  Giovanni  Bellini.  According  to  Lanzi  he 
resided  chiefly  at  Rimini,  where  he  painted  some 
pictures  for  the  churches,  which  prove  him  to  have 
been  an  able  artist.  His  principal  works  are,  the 
'Marriage  of  the  Virgin  with  St.  Joseph,'  in  the 
cathedral  at  Rimini ;  and  the '  Rosary,'  in  the  church 
of  the  Dominicans.     He  died  about  the  year  1520. 

CODAGORA.    See  Viviani,  Antonio. 

CODDE,  Lucas,  (Codden,  or  Coddeman,)  of 
Antwerp,  is  mentioned  as  designing  some  cartoons 
for  glass-painting  in  the  church  of  St.  Catharine, 
at  Breda  ;  and  a  portrait  by  him  of  Philip  the  Good, 
Duke  of  Burgundy,  bears  the  inscription  '  oud  42 
jaren.'  If  this  date  refers  to  the  Duke,  the  picture 
must  have  been  painted  about  1438.  Codde  is 
mentioned  as  a  painter  as  early  as  1426 ;  and 
his  name  is  the  second  inscribed  in  the  register  of 
the  Guild  of  St.  Luke,  of  which  he  was  a  master 
in  1453,  and  dean  in  1465,  1457,  1460,  and  1464. 
He  died  in  1469.  He  belonged  to  a  family  of 
artists ;  his  brother  Jan  is  mentioned  as  a  carver 
in  1450  ;  another  brother,  Willem,  was  a  sculptor  ; 
and  a  brother-in-law,  Willem  Coeman,  was  a  painter. 

CODDE,  Pieter,  the  son  of  Marten  Codde,  was 
born  in  1610,  married  in  1637  at  Amsterdam,  and 
was  probably  dead  in  1666.     He  executed  genre 
pictures  in  the  style  of  Palamedes.     His  paintings 
are  distinguished  for  the  liveliness  of  their  com- 
position and  the  fineness  of  their  colouring.     He 
painted    figures    in   Dirk    van    Delen's   interiors. 
Karel  Codde,  who  was  a  native  of  the  Hague,  and 
died  in  1698,  was  probably  his  son.     He  imitated 
the  manner  of  Both  and  Berchem,  and  painted  his 
figures  in  the  style  of  Terburg  with  much  taste 
and  finish.     Pieter  Codde's  best  works  are  : 
Berlin.         Museum.         Preparation  for  the  C;irnival. 
Dorpat.        iSivcrs  Coll.     The  Dancing  Lessou.     16J7. 
Hague.  Gallery.  The  Ball.     163(5. 

„  Backgammon  Pl.iyers. 

Vienna.        Gsell  Coll.      The  Evening  Party.     1633. 
J,  „  Soldiers  playing  at  Dice. 

CODE,  Mart.    See  Benwell. 

CODI.     See  CoDA. 

CODORfi,  Olivier,  a  French  engraver,  was  the 
author  of  the  plates  which  accompanied  the  '  Entrde 
de  Charles  IX.  k  Paris,'  1572.  They  are  executed 
with  much  facility,  but  display  no  great  artistic 
talent. 

COECK,  Pieter.    See  Koeck. 

COELENBIER,  Jan,  a  Dutch  landscape  painter 

■  309 


A  BIOGRAPHICAL  DICTIONARY  OF 


who  flourished  in  the  17th  century,  was  a  native 
of  Utrecht.  He  became  a  pupil  of  Van  Goyen, 
whose  works  he  imitated  so  closely  that  they  passed 
for  the  originals.  He  was  received  into  the  Guild 
of  St.  Luke  at  Haarlem  in  1632,  and  was  still 
living  in  1671. 

COELLO,  Alonso  Sanchez.   See  Sanchez  Coello. 

COELLO,  Clahdio,  was  of  Portuguese  parents, 
but  was  bom  at  Madrid  about  1621.  He  was  there 
instructed  in  the  art  by  Francisco  Rizi,  and  executed 
while  yet  in  that  school  an  altar-piece  for  San 
Placido  at  Madrid.  His  acquaintance  with  the 
court  painter,  Juan  Careno,  procured  him  the  per- 
mission to  visit  the  royal  collection,  where  he 
made  his  greatest  advance  by  studying  the  works 
of  Titian,  Rubens,  and  Van  Dyck.  His  friendship 
with  Josef  Donoso,  under  whom  he  studied  at 
Rome,  was  not  less  advantageous  for  him.  In  con- 
jvmction  with  that  artist  he  painted  frescoes  at 
Madrid  and  Toledo,  and  executed  the  Triumphal 
Arch  for  the  entrance  of  the  Queen,  Maria  Louisa 
of  Orleans.  By  these  paintings  he  became  well 
known,  and  was  employed  by  the  Archbishop  of 
Saragossa  in  1683.  He  was  made  painter  to  PhiUp 
IV.,  by  whom  he  was  employed  in  the  Escorial. 
Coello  never  travelled  out  of  Spain,  and  his  extra- 
ordinary talents  are  only  known  in  that  country. 
He  was  the  last  Spanish  painter  of  eminence,  as 
from  the  time  that  Luca  Giordano  was  summoned 
to  Spain,  the  art  sank  gradually  to  its  decay. 
Many  excellent  specimens  of  his  ability  are  to  be 
seen  in  the  churches  and  convents  at  Madrid, 
Saragossa,  and  Salamanca.  But  his  principal  work 
is  the  famous  altar-piece  in  the  sacristy  of  San 
Lorenzo,  in  the  Escorial,  representing  the  '  Adora- 
tion of  the  Miraculous  Host.'  It  is  an  immense 
composition,  and  occupied  the  painter  seven  years. 
In  the  crowd  of  personages  that  form  the  pro- 
cession, are  no  less  than  fifty  portraits,  including 
those  of  the  king  and  the  principal  persons  of  the 
court :  it  is  painted  with  the  utmost  precision,  yet 
in  a  bold  and  masterly  style,  and  there  is  a  majes- 
tic solemnity  in  the  arrangement  of  the  whole, 
which  suits  well  to  the  grandeur  of  the  subject. 
It  is  a  very  extraordinary  performance,  and  holds 
its  place  even  by  the  side  of  the  works  of  Titian 
and  Rubens.  The  preference  which  was  given  to 
Luca  Giordano,  who  came  to  Madrid  in  1692,  in 
painting  the  grand  staircase  in  the  Eseorial,  morti- 
fied Coello  so  much  that  he  died  of  vexation  at 
Madrid  in  1693. 

Coello  etched  three  plates,  viz.  : — '  Christ  on  the 
Cross,  with  the  Virgin,  St.  Augustine,  and  St. 
Monica,'  and  the  portraits  of  Charles  II.  and  his 
Mother.  He  was  the  instructor  of  Sebastian  Muiioz 
and  Teodoro  Ardmans. 

The  following  is  a  list  of  his  best  paintings  : 


Buda-Pesth.  Gallery. 
Madrid. 


«.  Placido 
Palace, 


STuseum, 


Munich.  Gallery. 

Petersburg.   Hermitage. 

»,  ,» 

Saragossa.  Augusti-nian  > 


Toledo. 
310 


Church. 
Escorial. 


St.  Joseph  with  the  Virgin  and 

Child. 
An  altar-piece. 
Cartoons,  representing  the  Fable 

of  Cupid  and  Psyche,  painted 

by  Ant.  Palomino. 
Assumption  of  the  Virgin.  (Two.) 
Portrait  of  Charles  II.  of  Spain. 
St.  Bosa  of  Lima. 
The  Apotheosis  of  St.  Augustin. 
St.  Peter  of  Alcantara. 
His  own  Portrait. 
The  Magdalen. 

The  frescoes  in  the  cupola. 

The  Adoration  of  the  Host.   (Sit 
chef-d'oeuvre.) 


COELLO,  Isabel  Sanchez.    See  Sanchez  Coello. 

COELMANS,  Jacob,  a  Flemish  engraver,  bom  at 
Antwerp  about  the  year  1670.  He  was  a  pupil  of 
Cornells  Vermeulen.  After  engraving  some  plates 
in  his  native  city,  he  was  engaged  by  Boyer 
d'Aguilles  to  undertake  the  plates  for  the  pictures 
of  his  collection.  They  consisted  of  one  hundred 
and  eighteen  prints,  and  form  the  principal  works 
of  this  artist,  of  which  the  following  are  the  most 
esteemed : 

PORTRAITS. 

Olympia  Maldachini,  niece  of  Innocent  X. ;  after  Giu- 
seppe Cesari. 
Paolo  Veronese,  a  Bust ;  after  a  picture  by  himself. 
Vincent  Boyer,  seigneur  d'Aguilles  ;  after  Le  Grand. 
Jean  Baptiste  Boyer  ;  after  Hyacinthe  Rigaud. 

SUBJECTS   AFTER   VARIOnS   MASTERS. 

The  Holy  Family,  with  St.  John  embracing  the  Infant 

Jesus ;  after  Parmigiaiw. 
The  Meeting  of  Jacob  and  Bachel ;  after  Michelangelo 

da  Caravaggio. 
Laban  giving  Piachel  to  Jacob ;  after  the  same. 
Jacob's  Departure  from  Laban  ;  after  B.  Castiglione. 
A  Company  of  Musicians,  Dancers,  &c. ;  after  the  same. 
Diana  and  Actseon  ;  after  Otto  van  Veen. 
A  Satyr  drinking,  with  a  Nymph  and  a  Cupid;  after 

i\'.  Poussin. 
The  Martyrdom  of  St.  Bartholomew ;  after  S.  Bourdon. 
Mount  Parnassus,  with  Minerva  and  Mercury ;  after  Le 

.Sueur. 
The  FUght  into  Egypt ;  after  Pujet. 
The  Murder  of  the  Innocents  ;  after  Claude  Spierre. 
The  Head  of  the  Virgin  ;  after  Seb.  Barras. 

COLN.     See  Koln. 

COENE,  CoNSTANTlNUS  FiDELio,  a  painter  of 
history,  genre,  and  landscape,  was  born  in  1780  at 
Vilvoorden.  He  first  studied  under  Hendrik  van 
Assche,  and  in  1809  removed  to  Amsterdam  and 
became  the  pupil  of  Barbiers.  He  then  went  to 
Brussels,  and  in  1820  was  made  Professor  at  the 
Academy.  His  picture  of  '  Rubens  receiving  from 
Charles  I.  the  sword  with  which  he  had  been 
knighted'  gained  for  him  the  grand  prize  at  Ghent, 
and  is  now  in  the  Museum  of  that  city.  His  '  Soldier 
returning  from  the  Battle  of  Waterloo '  also  gained 
him  much  praise.     He  died  at  Brussels  in  1841. 

COENE,  Jean  Henri  de.     See  De  Coene. 

COENRADT,  Lawers,  who  flourished  about  the 
year  1690,  engraved  some  of  the  portraits  for  the 
coUecrion  of  Cardinals  published  by  Rossi.  They 
are  very  indifferent  performances. 

COENTGEN,  Georg  Joseph,  a  painter  and  en- 
graver, was  bom  in  1752  at  Mayence.  He  was  a 
pupU  of  his  father,  the  engraver  Heinrich  Hugo 
Contgen,  but  removed  in  1776  to  Frankfort-on- 
the-Main,  where  he  painted  and  etched  portraits 
and  views  of  local  events,  and  founded  a  Drawing 
Institution  which  still  exists,  and  at  which  his  wife, 
the  flower  painter  Elisabetha  Mund  (who  was  born 
in  1752,  married  in  1776,  and  died  in  1783),  im- 
t^arted  instmction.     He  died  at  that  city  in  1799. 

COFFRE,  BenoIt,  a  French  painter,  who  in 
1692  gained  the  '  prix  de  Rome,'  the  subject  being 
"Abraham  sending  away  Hagar  and  Ishmael.'  He 
went  to  Denmark,  where  he  painted  the  ceilings  of 
the  castle  of  Fredriksborg  between  the  years  1709 
and  1717. 

COGELS,  Joseph  Charles,  (sometimes  called 
CoGELS  Mabilde,)  a  landscape  and  marine  painter, 
was  bom  at  Brussels  in  1786.  He  studied  at  the 
Academy  of  Diisseldorf  ;  and,  after  spending  some 
time  in  France,  returned  to  Belgium  in  1806,  and 
was  admitted  a  member  of  the  Royal  Society  of 


PAINTERS  AND   ENGRAVERS. 


the  Fine  Arts  at  Ghent.  In  1810  he  went  to  Munich, 
where  he  was  employed  by  the  King  and  Queen 
and  the  Duke  of  Leuchtenberg  in  painting  cabinet 
pictures  for  their  private  collections,  and  for  the 
Gallery  at  Schleissheira.  His  paintings,  which  are 
principally  landscapes,  water-falls,  and  old  monu- 
ments of  his  native  country,  are  held  in  high  esti- 
mation. In  the  Cassel  Gallery  is  a  view  of  the  St. 
Salvator  Platz,  Munich  (1819). 

He  etched  also  several  plates,  partly  after  J. 
Both,  partly  from  his  own  designs.  In  1817  he 
was  made  a  member  of  the  Academy  at  Antwerp. 
He,  however,  established  himself  at  Munich,  and 
was  an  honorary  member  of  the  Academy  there. 
He  died  in  1831,  at  the  Castle  of  Leitheira  near 
Donauworth. 

COGET,  JozEF  Antoon,  was  an  engraver,  probably 
a  Fleming,  who  lived  about  the  year  1650.  Le 
Blanc  calls  liim  in  error  Cochet.    By  him  we  have: 

Time  crowning  Industry  and  punishing  Idleness ;  after 

Bitbens. 
Portrait  of  David  Beck,  the  painter  ;  after  himself. 

COGHETTI,  Francesco,  was  born  at  Bergamo 
in  1804,  and  instructed  in  painting  by  Diotti  di 
Casalmaggiore.  He  went  afterwards  to  Rome, 
where  he  became  a  disciple  of  Camuccini,  and 
studied  the  works  of  Raphael.  He  presided  for 
many  years  over  the  Academj'  of  San  Luca  at 
Borne,  and  was  the  representative  of  classic  art  in 
the  early  part  of  the  19th  century.  He  died  at 
Rome  in  1875.     His  best  works  are  as  under : 

Bergamo.        Gallery.      Two  Altar-pieces. 

Mlrlacli.]^""^'^^^''^''''^^- 
„  Cathedral.   Frescoes  (in  the  cupola). 

Rome.      Villa  Torlonia.  Scenes   from   the  life   of   Alex- 
ander. 
„  „  The  Four  Elements. 

„  „  The  Triumph  of  Bacchus. 

„  „  The  Battle  of  the  Amazons. 

Porto  Maurizio.  Church.  The  Assumption. 
Savona.  Cathedral.  The  Martyrdom. 

COGNIET,  Leon,  was  born  in  Paris  in  1794,  and 
studied  art  under  Gu^rin.  In  1817  he  obtained  the 
first  '  grand  prix  de  Rome,'  and  painted  for  some 
time  in  that  city.  He  then  settled  in  Paris,  and 
devoted  himself  to  teaching,  and  to  the  production 
of  historical  works,  which  earned  for  him  much 
praise  mingled  with  a  certain  amount  of  adverse 
criticism.  He  was  appointed  Professor  of  Drawing 
in  the  Lyceum  of  Louis  le  Grand  and  in  the  Poly- 
technic School.  He  died  in  Paris  in  1880,  having 
been  a  member  of  the  '  Acad^mie  des  Beaux-Arts' 
since  1849.    The  following  are  his  principal  works: 

Metabus,  King  of  the  Volscians,  expelled  by  his  subjects 
{painted  in  Rome  in  1822^. 

Marius  in  the  Ruins  of  Carthage.    1824.  , 

Numa  {burned,  in  the  Palace  of  the  Conseil  d'Etat, 
during  the  Commune). 

The  Massacre  of  the  Innocents.     1824. 

The  Charity  of  St.  Stephen  {in  the  Church  of  St.  Nicolas- 
des-Champs,  Paris). 

The  National  Guard  marching  to  join  the  army  in  1792 
{at  Versailles).     1836. 

The  Battle  of  Kivoli  {at  Versailles). 

The  Battle  of  Limburg  {at  Versailles). 

Ad  Angel  announcing  the  Resurrection  to  the  Magdalen 
{in  the  Madeleine,  Paris). 

A  Scene  at  the  Barricades.     1830. 

Tintoretto  painting  his  dead  Daughter  {in  the  Bordeaux 
Museum).     One  of  his  best  works.     1845. 

In  addition  to  the  above,  he  executed,  among 
other  portraits,  those  of  Marshal  Maison,  Louis 
Philippe  in  his  youth,  and  the  painter  Guerin,  and 


also  painted  at  Versailles,  in  conjunction  with 
Philippoteaux,  Karl  Girardet,  Vignon,  Guyon,  and 
other  artists,  episodes  in  the  campaign  of  Egypt. 

COGNIET,  Marie  Amelie,  who  was  born  in 
Paris  in  1798,  studied  under  her  brother,  Ldon 
Cogniet,  and  exhibited  from  1831  to  1843.  She 
painted  genre  subjects  and  portraits,  and  died  in 
Paris  in  1869.  The  Lille  Museum  contains  an 
'  Interior  of  a  Studio  '  by  her. 

COIGNARD,  S.,  was  a  French  engraver  of  little 
note,  who  worked  in  London  during  the  early  part 
of  the  18th  century,  chiefly  after  Kneller.  He  has 
left  us  some  indifferent  portraits,  amongst  whicli 
are  the  following : 

John  Dryden. 

Sir  Christopher  Wren. 

George  Parker,  astrologer. 

COIGNET,  GiLLis.     See  Congnet. 

COIGNET,  Jules  Louis  Philippe,  a  landscape 
painter,  was  born  in  Paris  in  1798,  and  who 
studied  under  Bertin.  He  travelled  a  good  deal  in 
his  own  country  as  well  as  in  Italy  and  the  East, 
and  produced  a  considerable  number  of  views.  He 
holds  a  middle  place  between  the  Idealists  and  the 
Realists,  and  his  work  is  remarkable  for  the  com- 
bination of  vigour  and  delicacy  in  the  effects  of 
light  and  shade,  for  poetical  feeling,  for  a  firm 
brush,  and  occasionally  for  grandeur  of  conception. 
His  chef-d'oeuvre  is  'The  Ruins  of  the  Temple 
of  P8estum,'now  in  the  New  Pinacothek  at  Munich. 
In  addition  to  producing  many  water-colours  and 
chalk-drawings,  he  wrote  a  book  on  landscape 
painting,  and  published  in  1825  a  series  of  sixty 
Italian  views.     He  died  in  Paris  in  1860. 

COINY,  Jacques  Joseph,  a  French  line-engraver, 
was  bom  at  Versailles  in  1761.  He  was  a  pupil  of 
Suv^e  and  of  Phihppe  Le  Bas,  and  in  1788  went 
to  Rome,  where  he  stayed  three  years.  He  en- 
graved for  (he  government  the '  Battle  of  Marengo,' 
after  the  large  picture  of  Lejeune,  exhibited  in 
1806;  but  his  fame  rests  chiefly  on  the  plates 
which  he  executed  after  Lefevre  for  the  '  Lettres 
d'unePeruvienne  '  and  for  '  Manon  Lescaut'  in  the 
'  Collection  Bleuet.'      Coiny  died  in  Paris  in  1809. 

COINY,  Joseph,  a  French  line-engraver,  was  the 
son  of  Jacques  Joseph  Coiny.  He  was  bom  in  Paris 
in  1795,  and  studied  under  his  father,  Gounod,  and 
Bervic.  He  engraved  the  '  Creation  of  Eve  '  after 
Michelangelo,  Dante  Alighieri  after  Raphael,  and 
the  portraits  of  Micliallon  after  L.  Cogniet,  and  of 
Raphael  from  the  picture  in  the  Florence  Gallery. 
He  died  in  Paris  in  1829. 

COLA,  Gennaro  di,  an  old  Neapolitan  painter, 
was  born  in  1 320.  He  was  the  disciple  of  Maestro  Si- 
mone,  a  friend  and  companion  of  Giotto,  and  painted 
in  his  style.  The  principal  works  remaining  of 
this  ancient  artist  are,  the  altar-piece  in  the  church 
of  Santa  Maria  della  Pieta,  representing  the  Mater 
Dolorosa  with  the  dead  Christ,  and  Angels  holding 
the  Instruments  of  the  Passion  ;  and  in  a  chapel 
of  the  same  church,  a  'Penitent  Magdalen.'  In  the 
tribune  of  San  Giovanni  a  Carbonara,  the '  Annunci- 
ation '  and  the  'Nativity.'  In  the  Chapel  of  the 
Crucified  in  Sant'  Incoronata,  at  Naples,  a  '  Corona- 
tion of  the  Queen  Johanna  and  Louis  of  Tarento,' 
a  weak  composition.  In  the  Museum  of  that  city 
is  a  'Conception,'  in  the  manner  of  a  miniature 
painting.  It  is  distinguished  for  its  warm  colour- 
ing. Many  other  works  by  this  painter  are  men- 
tioned by  Dominici.  His  style,  like  that  of  the 
painters  of  his  time,  is  laboured  and  dry,  but  not 
without  expression.     He  died  in  1370. 

311 


A  BIOGRAPHICAL  DICTIONARY  OF 


COLANDON,  D.,  was  a  landscape  painter  who 
also  etched.  He  is  supposed  to  have  been  the 
game  person  as  Oollandon  who  was  bom  at  Cannes, 
and  was  established  in  Paris  in  1670.  He  studied 
under  P.  F.  Mola,  his  work  being  for  the  most  part 
in  the  style  of  Genoels.  Two  plates  are  known 
signed  with  the  name  D.  Colandon.  One  represents 
a  mountain  landscape  with  two  women  seated,  one 
of  whom  is  holding  a  child ;  and  the  other  is  a 
landscape  with  a  stream  introduced,  on  the  right 
bank  of  which  is  a  woman  with  an  infant. 

COLANTONIO  del  FIOEI.     See  Tomasi,  Nic. 

COLAS,  Alphonse,  a  French  historical  and  por- 
trait painter,  was  born  at  Lille  in  1818,  and  studied 
under  Souchon  at  the  school  of  his  native  town. 
He  first  attracted  attention  by  a  large  canvas  at 
the  Salon  of  1849,  representing  the  '  Raising  of  the 
Cross.'  He  was  much  employed  as  a  decorative 
painter  in  French  churches,  a  good  specimen  of  his 
work  in  this  genre  being  his  paintings  in  grisaille 
in  the  cupola  of  the  Eglise  de  Notre  Dame  at 
Roubaix.  He  held  the  post  of  director  of  the  art 
school  of  Lille,  where  he  died  in  1887.  His  por- 
trait of  Souchon  is  in  the  Lille  Museum. 

COLBENSCHLAG,  Stephen,  (or  Colbenids,) 
was  a  German  engraver,  who  flourished  about  tlie 
year  1610.  Brulliot  says  he  was  born  at  Salzburg 
in  1591  ;  and  Nagler,  that  he  died  at  the  age  of  92. 
He  resided  principally  at  Rome,  where  he  engraved 
several  plates  from  the  works  of  the  Italian  painters : 
among  others  are  the  following  : 

The  Adoration  of  the  Shepherds  ;  after  Domenichino. 
TheTakiug  down  from  the  Cross  ;  after  Annib.  Carracci. 

COLCHESTER,  Walter  of.    See  Walter. 

COLE,  B.,  an  engraver  of  portraits,  worked  in 
England  in  the  early  part  of  the  18th  century. 

COLE,  George,  painter,  was  born  in  1808.  He 
was  entirely  self-taught,  and  began  life  at  Ports- 
mouth as  a  painter  of  portraits  and  animals.  He 
finally,  however,  devoted  himself  to  landscape,  and 
settled  in  London.  He  first  exhibited  in  1840,  and 
was  afterwards  a  pretty  constant  contributor  to 
the  Old  British  Institution,  and,  later,  to  the  Suffolk 
Street  Exhibitions.     He  died  September  7,  1883. 

COLE,  George  Vicat,  R.A.,  was  born  at  Portfl- 
mouth  April  17,  1833,  and  died  at  Campden  Hill 
House,  Kensington,  on  April  16,  1893.  His  father 
was  a  successful  artist,  and  in  his  studio  Vicat 
Cole  worked  during  his  early  years,  making  copies 
of  works  by  Turner,  Constable,  and  Cox.  The  most 
important  part  of  his  art  education, however,  was  that 
which  he  obtained  by  sketching  from  nature  during 
the  summer  raonthSjStill  under  his  father's  direction, 
both  in  England  and  abroad,  and  so  effective  was 
this,  that  in  1852,  at  the  age  of  nineteen,  he  secured 
admission  to  the  now  extinct  British  Institution 
with  a  picture  of  'Eanmore  Common,'  and  to  the 
Society  of  British  Artists  in  Suffolk  Street  with 
drawings  of  the  Wye  and  Teign,  while  in  the 
following  year  he  was  represented  for  the  first 
time  at  the  Royal  Academy  by  two  pictures, 
'  Kloster  Marienburg'  and  'A  Sunny  View.'  In 
spite  of  these  youthful  successes  his  early  years  were 
not  without  their  healthy  struggles  with  difHculties, 
and  he  was  well  content  often  to  dispose  of  his 
works  for  quite  insignificant  sums.  In  1859  he 
was  elected  a  member  of  the  Royal  Society  of 
British  Artists,  and  in  1860  he  was  awarded  a  silver 
medal  by  the  Society  for  the  Encouragement  of  the 
Fine  Arts  for  a  painting  entitled  '  Harvest  Time.' 
He  was  then  residing  at  Abinger  in  Surrey,  but  in 

312 


1868  he  removed  to  No.  8,  Victoria  Road,  Kensing-' 
ton,  and  his  reputation  was  so  well  established  that 
in  January  1870  he  was  elected  an  Associate  of  the 
Royal  Academy,  which  was  followed  ten  years  later 
by  his  promotion  to  the  full  Academicianship.  No 
less  than  three  of  the  works  which  finally  assured 
his  claim  to  this  distinction  were  renderings  of  the 
Thames,  'A  Thames  Backwater,'  'The  Mist  of 
the  Morning,  Sonning,'  and  '  The  Silver  Thames, 
near  Medmenham,'  and  thenceforward  he  devoted 
himself  almost  exclusively  to  the  depicting  of  that 
river,  with  the  intention  of  recording  its  most 
salient  beauties  from  the  source  to  the  sea.  Thus 
in  1881  he  exhibited  'Streatley'  and  'Wargrave';  in  M 
1882  'The  Sources  of  th.e  Thames'  and  'Abing-  I 
don' ;  in  1883  '  Windsor  Castle ' ;  in  1884  ' Oxford 
from  ffley,'  '  IfHey  Mill,'  'Mapledurham  Lock,' 
and  'Bisham';  in  1885  '  Sinodun  Hill  from  Day's 
Lock ' ;  in  1886  '  Cornfields  at  Gatehampton,'  '  The 
Thames  at  Hartswood,'  '  Pangbourne,'  'Cookham,' 
'Great  Marlow';  in  1887  'Streatley  from  near 
Cleve  Lock';  in  1888  'The  Pool  of  London,' 
'Cornfields  at  Goring,'  and  'A  Thames  Backwater'; 
in  1890  'Greenwich'  and  'The  Meeting  of  the 
Thames  and  the  Isis  at  Dorchester'  ;  and  in  1892 
'Westminster'  formed  his  last  exhibit  at  the  Royal 
Academy,  though  'Windsor  Castle  from  a  Back- 
water' was  his  last  completed  picture,  '  Gravesend' 
and  '  The  Nore  '  being  left  unfinished  at  his  death. 
He  was  typically  a  lover  and  painter  of  English 
landscapes,  and  his  work  was  characterized  by  a 
straightforward  directness  of  technique,  a  delicate 
sense  of  colour,  a  keen  eye  for  the  picturesque,  and 
a  close  if  not  very  inspired  observation  of  nature. 

COLE,  Humphrey,  a  goldsmith  and  engraver 
connected  with  the  Mint  in  the  Tower,  was  bom 
about  the  year  1530  in  the  north  of  England. 
He  engraved  the  Map  of  Canaan  for  the  second 
edition  of  the  Bishops'  Bible,  published  in  1572, 
and  is  said  by  Horace  Walpole  to  have  also  en- 
graved the  titlepage  containing  the  portrait  of 
Queen  Elizabeth,  as  well  as  those  of  the  Earl  of 
Leicester  and  Lord  Burghley,  for  the  first  edition 
of  the  same  Bible,  issued  in  1568,  but  these  are  so 
far  superior  to  the  map  in  execution  as  to  render 
the  statement  extremely  doubtful. 

COLE,  John,  an  English  engraver,  flourisln  d 
about  the  year  1720.  He  was  much  employed  by 
the  booksellers,  for  whom  he  engraved  some  por- 
traits and  other  book-plates  ;  among  which  is  a 
head  of  James  Puckle,  prefixed  to  his  dialogue 
called  '  The  Club.'  He  also  engraved  several  plates 
of  monuments,  and  a  copy  from  the  print  by  Martin 
Rota,  representing  the  '  Last  Judgment,'  after 
Michelangelo. 

COLE,  Peter,  practised  as  a  portrait  painter  in 
the  reign  of  Elizabeth.  He  was  for  some  time 
Director  of  the  Mint.  He  is  thought  to  have  been 
a  brother  of  Humphrey  Cole. 

COLE,  Sir  Ralph,  Bart.,  was  an  amateur  who 
studied  under  Van  Djck.  The  date  of  his  birth 
is  not  known,  but  he  succeeded  to  the  baronetcy  in 
1640,  and  died  in  1704.  There  is  at  Petworth  a 
portrait  of  Thomas  Wyndham  painted  by  him,  which 
has  been  mezzotinted  by  R.  Tompson. 

COLE,  Thomas,  the  landscape  painter,  was  bom 
at  Bolton-le-Moors,  Lancashire,  in  1801.  His  father 
emigrated  whilst  his  son  was  only  eighteen  years 
of  age,  in  the  hope  of  bettering  his  fortunes,  and 
established  a  paper-hanging  manufactory  at  Steu- 
benville  in  Ohio,  and  it  was  while  assisting  in  this 


PAINTERS  AND  ENGRAVERS. 


buBinesB  that  tne  son  learnt  the  rudiments  of  hie 
art.  At  length  a  portrait-painter  visited  the  place 
where  he  lived,  whose  works  so  awakened  Cole's 
dormant  spirit  that  he  left  his  home  suddenly  to 
follow  out  the  object  he  had  so  much  at  heart.  Amid 
many  difficulties  and  much  privation,  he  found  his 
way  to  Philadelphia,  and  thence  to  New  York, 
where  he  set  up  his  easel  in  a  garret.  His  talents 
soon  introduced  him  to  the  notice  of  Trumbull  and 
otlier  older  brother  artists,  and  likewise  to  some 
wealthy  patrons  ;  from  the  former  he  received  pro- 
fessional advice  and  assistance,  and  from  the  latter 
more  substantial  encouragement.  He  subsequently 
visited  Ital}-  and  England,  and  finally  settled  down 
in  the  land  which  his  parents  had  adopted.  He 
was  long  known  as  one  of  the  best  landscape  paint- 
ers in  the  States  ;  we  also  find  his  name  in  the  cata- 
logues of  our  Royal  Academy,  he  having  exhibited 
in  the  year  1830  a  '  View  in  New  Hampshire, 
United  States,'  and  the  '  Tomb  of  General  Brock, 
Lake  Ontario,  in  Upper  Canada ; '  and  in  1831  a 
'View  in  the  United  States.'  He  died  in  1848, 
at  his  residence  near  the  town  of  Catskill,  on  the 
banks  of  the  Hudson.  Of  Cole's  works,  the  New 
York  Historical  Society  possesses  the  '  Course  of 
Empire '  (five  landscape  scenes),  his  master-piece. 
His  '  Voyage  of  Life  '  was  formerly  in  the  Taylor- 
Johnston  Collection  at  New  York.  The  '  Mountain 
Ford '  and  '  Kenilworth  Castle '  were  exhibited 
at  Philadelphia  in  1876.  Cole  wns  the  first  good 
landscape  painter  in  America. 

COLEMAN,  Edward,  of  Birm  ngham,  painted 
Btill-life  subjects.  He  exhibited  at  the  Royal 
Academy  in  1819,  1820,  and  1822. 

COLEMAN,  William,  was  one  of  the  early 
wood-engravers.     He  died  in  London  in  1807. 

COLEYER,  Evert,  (or  Colier,  or  Colyner,)  a 
Dutch  painter  of  still-life  and  interiors,  who  was  a 
native  of  Leyden,  flourished  from  1673  to  1691. 
He  was  dead  in  1702.  Some  of  his  works  are 
mentioned  in  the  catalogues  of  Hoet  and  Terwesten. 

COLIBERT,  Nicolas,  a  French  painter  and  en- 
graver, was  born  in  Paris  in  1750.  He  executed  in 
the  dotted  style  some  landscapes  after  Casanova, 
and  about  1782  came  to  London,  where  he  pro- 
duced two  oval  plates  of  '  Pity  '  and  'Youth,'  and 
two  subjects  from  '  Evelina.'  During  the  Revolution 
he  returned  to  Paris  and  engraved  several  of 
Schall's  designs  for  '  Les  Amours  de  Psyche  et  de 
Cupidon,'  published  in  1791,  and  some  illustrations 
after  Monsiau  to  the  poem  '  La  Mort  d'Abel,'  pub- 
lished in  1793.     Colibert  died  in  London  in  1806. 

COLIEZ,  Adrien  Norbbrt  Joseph,  a  French 
landscape  painter,  was  born  at  Valenciennes  in 
1754,  and  died  in  the  same  town  in  1824.  He  also 
painted  scenery  and  views  of  towns. 

COLIGNON,  FRANgois,  a  French  designer  and 
engraver,  was  born  at  Nancy  about  the  year  1621. 
He  was  a  pupil  of  Callot,  and  studied  the  works  of 
Delia  Bella  and  Silvestre.  He  engraved  some  of 
the  plates  of  the  towns  conquered  in  the  reign  of 
Louis  XIV.,  published  by  Beaulieu.  We  have  also 
several  plates  from  different  masters,  and  from  his 
own  designs.  His  best  works  are  views  of  build- 
ings, with  small  figures,  in  the  style  of  Callot, 
which  he  executed  with  great  spirit  and  freedom. 
We  have  by  him,  among  others,  the  following 
prints : 

SUBJECTS    FROM    HIS    OWN   DESIGNS. 
A  set  of  twelve  Landscapes. 
The  Buildings  at  Rome  under  Sixtus  V. 
A  View  of  Malta  with  its  ancient  Fortifications. 


SUBJECTS   AFTER   OTHER   MASTERS. 
The  Flight  of  Attila ;  after  Raphael. 
The   five   canonized   Saints,  St.   Gaetano,  St.   Francis 

Borgia,  St.  Philip  Benizio,St.Bertrand,and  St.Kosa; 

after  J.  B.  Gaetano. 
View  of  Florence  ;  after  S.  delta  Bella. 
Plan  of  the  Castle  of  Moyen  ;  after  Callot. 

COLIN,  a  French  historical  painter  and  engineer, 
who  became  painter  to  the  Duke  of  Burgundy  in 
1420.  He  was  an  artist  in  every  acceptation  of 
the  term,  and  executed  at  the  castle  of  Hesdin 
many  undertakings  in  painting  and  architecture,  as 
well  as  curious  hydraulic  works. 

COLIN,  of  Amiens,  a  French  portrait  painter,  who 
flourished  in  1482,  was  commissioned  to  paint  the 
portrait  of  Louis  XI.  His  praises  were  sung  by 
the  poets  of  his  time. 

COLIN,  Adriaan  van,  a  Dutch  painter  of  the 
17th  century,  painted  poultry  in  the  manner  of 
D'Hondecoeter. 

COLIN,  Alexandre  Marie,  a  French  painter 
of  historical  and  genre  subjects,  was  born  in  Paris 
in  1798.  He  was  a  pupil  of  Girodet.  His  religious 
and  historical  paintings  are  characterised  by  a 
style  based  on  a  careful  study  of  the  old  masters, 
while  his  genre  pieces  are  vigorous  and  life-like. 
Amongst  these  latter  may  be  noticed  his  '  French 
Fish-Market'  (1832)  in  the  Berlin  Gallery,  and  his 
'Gipsies  Resting.'  Amongst  the  former  may  be 
named  a  '  Christopher  Columbus,'  a  '  Flight  into 
Egypt,'  and  an  '  Assumption  of  the  Virgin.'  He 
died  in  1875. 

COLIN,  Franqois,  who  was  bom  at  Bordeaux  in 
1798,  studied  under  Lacour,  the  elder,  and  died  in 
his  native  city  in  186'4.  The  Bordeaux  Museum 
has  two  works  by  him — a  'Fountain  of  Love'  and 
'  Crispin  Messager.' 

COLIN,  Jean,  a  French  line-engraver,  wlio  flour- 
ished in  the  latter  half  of  the  17th  century.  He 
was  a  native  of  Rheims,  but  the  dates  of  his  birth 
and  death  are  unknown.  He  engraved  an  'As- 
sumption '  after  A.  Carracci,  an  equestrian  portrait 
of  Louis  XIV.  crowned  by  Victory,  and  having  at 
his  feet  a  map  of  Holland,  and  several  other  por- 
traits which  bear  date  from  1665  to  1688.  Some 
of  his  plates  are  signed,  Collin. 

COLLADO,  Juan,  a  Spanish  painter,  was  a  native 
of  Valencia,  and  a  scholar  of  Rioharte.  He  painted 
in  fresco  the  dome  of  the  chapel  of  St.  Francis 
Xavier  in  the  Jesuits'  church,  and  its  lateral  altar- 
pieces  in  oil ;  and  also  executed  various  works  for 
the  parish  church  of  Santa  Catalina,  and  other 
churches  of  his  native  city.  He  died  at  Valencia 
in  1767. 

COLLAERT,  Adriaen,  a  Flemish  designer  and 
engraver,  was  born  at  Antwerp,  but  in  what  year  is 
not  known.  After  having  learnt  the  principles  of 
the  art  in  his  own  country,  he  visited  Italy  for 
improvement,  where  he  passed  some  years.  On 
his  return  to  Flanders,  he  engraved  a  great  number 
of  plates,  executed  in  a"heatly  finished  style,  bnt 
with  a  certain  degree  of  dryness.  He  died  at 
Antwerp  in  1618.  His  drawing  is  correct,  and  bis 
heads  expressive.    He  sometimes  marked  his  plates 

with  the  cipher    _^\_. 
Tlie  following  are  his  principal  productions  : 

SUBJECTS   FROM   HIS   OWN   DESIGNS. 

A  Man  and  his  Wife,  conducted  by  Death.     1562. 

A  Man  iu  Armour,  to  whom  a  Woman  brings  a  Child, 

a  Dog,  and  a  C'ock. 
The  Four  Elements  ;  in  four  plates. 

313 


A  BIOGRAPHICAL  DICTIONARY  OF 


The  Life  of  Jesus  Christ ;  in  thirty-six  plates: 
Thirty  plates  of  Birds. 

One  hundred  and  twenty-five  plates  of  Fishes. 
Twenty-four  plates ;   entitled  Florileyium  ah  Hadriano 

Collaert  ctpfatum,  ^-c. 
The  Temptation  of  St.  Anthony. 
St.  ApoUonia. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  Twelve  Months  of  the  Tear;  after  Josse  De 
Momper ;  the  same  that  Callot  has  engraved. 

The  Last  Judgment ;  after  J.  Stradan. 

St.  Hubert ;  after  the  same. 

Twelve  plates  of  Horses ;  after  the  same. 

A  Hunting  and  Fishing  Party ;  after  the  same. 

The  IsraeUtish  Women  singing  the  Song  of  Praise  for 
the  Destruction  of  the  Egyptian  Host  in  the  Red 
Sea;  after  the  same. 

A  "Woman  saving  her  Child  from  a  Lion  ;  after  the  same. 

Twelve  Landscapes  ;  after  Hendrik  van  Cleef. 

A  set  of  Hermitesses  ;  after  M.  de  Vos  ;  engraved  con- 
jointly with  his  son  Hans  Collaert. 

The  Calling  of  St.  Andrew  to  the  Apostleship ;  after 
Barocci. 

The  Eepose  in  Egypt ;  after  H.  Goltzius.     1585. 

A  set  of  sis  plates,  called  the  Annunciations ;  considered 
among  the  best  of  his  works. 

COLLAERT,  Hans  or  Jan,  the  son  of  Adriaen 
Collaert,  was  bom  at  Antwerp  about  1540.  After 
being  instructed  by  his  father  for  a  while,  he  fol- 
lowed his  example  in  visiting  Italy,  where  he 
passed  some  time.  He  assisted  his  father  in  many 
of  his  works,  and  engraved  a  great  number  of 
plates,  dated  from  1555  to  1622,  which  are  executed 
in  the  style  of  Adriaen,  but  with  more  taste  and 
less  stiffness.  He  died  at  Antwerp  in  1628.  He 
sometimes  signed  his  plates  with  his  name  Hans 
Collaert  fecit,  sometimes  with  the  initials  H.  C.F., 

and  sometimes  with  the  cipher    JC|j  . 

The  following  are  his  prints  most  worthy  of 
notice : 

SUBJECTS   AFTER    HIS   OWN    DESIGNS. 

The  Life  of  St.  Francis  ;  in  sixteen  plates,  with  grotesque 

borders. 
The  Dead  Christ  in  the  Lap  of  the  Virgin. 
The  Last  Judgment,  surrounded  with  small  subjects  of 

the  Life  of  Christ. 
Peace. 
Charity. 
Ten  plates  ;  entitled  Monilium  Bullarum  inauriumqtu 

Icones.     1581. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

St.  John  preaching  in  the  TVilderne-ss  ;  G.A.  Z.  inv. 
Moses  striking  the  Rock  ;  after  Lambert  Lombard;  very 

tine. 
Marcus  Curtius  throwing  himself  into  the  Gulf;  after 

the  same. 
A  Satyr  pursued  by  Women ;  after  J.  Stradan. 
Time  and  Truth  ;  after  the  same  ;  very  fine. 
Mars  and  Venus  ;  after  the  same. 
The  Loves  of  Mars  and  Venus ;  four  plates ;  after  P. 

Galle.  t-  ,    J 

The  Title  to  the  Biblia  Saera ;  after  Ruhetis  ;  fine. 
The  Title  to  the  Kerkelyke  Historie ;   after  the  same; 

fine. 
The  Title  to  the  Heylige  Vaders  Boeck ;  after  the  same; 

fine. 
Twelve  plates  for  a  '  Missal ; '  after  the  designs  of  Rubens. 

The  subjects  are  taken  from  the  Lives  of  Christ  and 

the  Virgin. 

COLLANDON,  D.     See  Colandon. 

COLLANTES,  Francisco,  a  Spanish  painter,  was 
bom  at  Madrid  in  1599.  He  was  instructed  by 
Vicente  Carducci  and  painted  figures,  animals, 
landscapes,  fruit,  and  flower-pieces,  and  often 
united  historical  subjects  with  landscapes.      His 

314 


works  are  executed  in  a  bold  and  masterly  manner, 
in  the  style  of  Rubens,  richly  coloured,  and  with 
very  romantic  scenery.  Of  his  historical  works,  the 
principal  are  '  St.  Jerome,'  and  a  picture  of  the 
Resurrection,  in  the  Buen  Retiro.  He  died  at 
Madrid  in  1656.     There  are  by  him  : 

Copenhagen.  Museum.  St.  Jerome. 

Madrid.  Gallery.  The  Vision  of  Ezekiel. 

„  „  St.  WUliam  of  Aquitaine. 

„  „  Irfindscapes  (tiro). 

„  „  The  Burning  of  Troy. 

Munich.      PinaXothek.  Landscape. 
Paris.  Louvre.      Jehovah  appearing  to  Moses  in  the 

Burning  Bush. 
Petersburg.  Hermitage.  St.  John  the  Baptist. 

COLLAS,  AcHiLLE,  a  French  mechanician,  wag 
born  in  Paris  in  1795.  He  was  the  inventor  of  the 
process  of  engraving  in  imitation  of  bas-reliefs 
and  cameos  which  is  known  by  his  name.  His 
principal  work  is  the  '  Tr^sor  de  Numismatique  et 
de  Glvptique,'  22  volumes  in  folio,  published  in 
1834-1850.     He  died  in  Paris  in  1859. 

COLLE,  Raffaellino  dal.    See  Dal  Collb. 

COLLEONI,  GiROLAMO,  was  a  native  of  Bergamo, 
born,  according  to  Tassi,  about  the  end  of  the 
loth  century.  Most  of  the  works  of  this  able 
artist,  in  his  own  countrj',  were  formerly  in  the 
church  of  Sant'  Antonio  dell'  Ospitale  at  Bergamo, 
but  were  destroyed  at  the  time  the  church  was  re- 
built. In  the  church  dedicated  to  St.  Erasmo,  at 
San  Borgo  Canale  near  Bergamo,  is  preserved  one 
of  his  most  esteemed  works,  painted  in  1538.  This 
picture  is  described  by  Tassi  as  one  of  the  most 
admirable  productions  of  Bergamese  art.  It  repre- 
sents the  Virgin  and  Infant,  with  Mary  Magdalene, 
St.  John,  and  St.  Erasmus.  Lanzi  mentions  a  pic- 
ture by  Colleoni  of  the  '  Marriage  of  St.  Catharine,' 
in  the  Carrara  Gallery,  which  was  thought  by  the 
best  judges  to  be  a  work  of  Titian,  until  the  inscrip- 
tion, Hieronymus  Colleo,  1555,  was  found  on  it. 
Not  meeting  with  the  distinction  he  merited  in  his 
own  country,  and  disgusted  at  the  encouragement 
given  to  inferior  talents  of  foreign  growth,  he 
determined  to  leave  it ;  but,  previous  to  his  depar- 
ture, Tassi  asserts,  he  painted  in  one  night  on  the 
facade  of  his  house  a  very  beautiful  horse,  and 
inscribed  under  it  Nemo  propheta  acceptus  in 
patria  sua.  He  went  to  Spain,  where  he  met  with 
due  encouragement,  and  was  employed  in  the 
Escorial. 

COLLET,  John,  known  as  '  John  Collet,  senior,' 
died  in  London  in  1771.     He  painted  portraits. 

COLLET,  John,  an  English  artist,  born  in  London 
in  1725,  was  a  scholar  of  Lambert,  the  landscape 
painter.  He  painted  subjects  of  humour,  somewhat 
in  the  manner  of  Hogarth,  approaching  him  only 
in  vulgarity  and  caricature.  In  pieces  wherein  he 
did  not  attempt  to  imitate  that  genius,  and  confined 
himself  to  simple  objects,  he  showed  considerable 
merit  in  the  representation  of  the  characters  and 
costume  of  his  time.  Several  of  his  pictures  have 
been  engraved,  and  there  are  some  etchings  by 
him.  He  died  in  1780.  Two  water-colour  drawings 
by  him  are  in  the  South  Kensington  Museum. 

COLLET,  Louis,  was  a  native  of  Paris,  and 
flourished  about  the  year  1610.  He  engraved  a  set 
of  plates  or  ornaments  for  goldsmiths  and  jewellers, 
from  the  designs  of  Giles  Legard,  which  are  exe- 
cuted with  the  graver  in  a  very  neat  style :  these 
were  published  in  1663. 

COLLETTE,  Alexandre,  a  French  lithographer, 
was  born  at  Arras  in  1814,  and  died  in  1877. 


CHARLES  COLLINS 


CONVENT  THOUGHTS 


[Univi-isily  Galleries,  Oxford 


PAINTERS   AND  ENGRAVERS. 


COLLIER,  John,  who  assumed  the  name  of  Tim 
Bobbin,  was  born  at  Warrington  in  the  early  part 
of  the  18th  century.  He  was  an  eccentric  indi- 
vidual— travelling  the  country,  first  as  a  school- 
master, then  as  a  sign-painter,  portrait-painter,  and 
caricaturist,  living  from  hand  to  mouth.  He  was 
also  an  author,  and  issued  in  1810,  '  The  Passions 
humourously  delineated,'  with  25  coloured  plates  ; 
a  volume  of  his  '  Miscellaneous  Works,'  with  his 
Life  by  R.  Townley,  and  with  portrait  and  copper- 
piates,was  published  in  1818.  He  lived  to  the  age 
of  80,  but  the  dates  of  his  birth  and  death  are 
uncertain. 

COLLIER,  Makian,  an  English  amateur  painter, 
was  the  daughter  of  Professor  Huxley.  In  1879 
she  married  Mr.  John  Collier.  She  painted  figure 
pictures,  and  occasionally  exhibited  at  the  Academy 
and  the  Grosvenor  Gallery.  She  died  November 
18,  1887. 

COLLIER,  Tom,  was  bom  at  Glossop,  Derbyshire, 
in  1840.  Thougli  he  studied  for  a  short  time  at 
the  Manchester  School  of  Art,  he  was  practically 
self-taught.  In  1861  he  was  elected  a  member  of 
the  Royal  Institute  of  Painters  in  Water-Colours, 
to  the  exhibitions  of  which  he  was  a  frequent 
contributor.  He  sent  pictures  to  the  Paris  Ex- 
hibitions of  1878  and  1889,  and  on  the  former 
occasion  was  created  a  Knight  of  the  Legion  of 
Honour.  Collier  painted  landscapes  of  English 
scenery,  in  water-colour,  of  which  three  examples 
are  at  South  Kensington.  He  painted  also  in  oils, 
and  exhibited  at  the  Royal  Academy.  He  died  at 
Hampstead  in  1891. 

COLLIER.     See  Monkswell. 

COLLIN,  Richard,  a  German  designer  and  en- 
graver, was  born  at  Luxemburg  in  1627.  He  went 
to  Rome  when  3'oung,  and  became  a  scholar  of  his 
countryman,  Sandrart,  for  whose  'Accademia'  he 
engraved  some  plates.  On  his  return  from  Italy 
he  resided  at  Antwerp  and  Brussels,  where  he 
engraved  several  portraits  and  other  subjects,  in  a 
neat  but  laboured  style.  The  following  are  his 
principal  plates : 

PORTRAITS. 

Jane  Bickerton,  Duchess  of  Norfolk. 

Sir  Godfrey  Kneller ;  for  Sandrart's  '  Accademia.' 

John  Zachary  KneUer ;  for  the  same. 

Artus  QuelUnus,  sculptor  ;  afUr  E.  Quellinus. 

Jan  Philip  van  "Thielen,  flower  painter  ;  after  the  same. 

Joachim  Sandrart.     1679. 

Bartolome  Ksteban  Murillo,  painter ;  after  Murillo. 

Christian  Albert,  Priuce  Bishop  of  Lubeck.     1654. 

Anna  Adelhildi^,  wife   of  the  Prince  de   la  Tour  et 

Tassis.     1682. 
A  set  of  forty  portraits  of  the  Saints  of  Mount  Oarmel. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

Esther  before  Ahasuerus  ;  after  Buhens. 

Christ  bearing  his  Cross  ;  after  A .  Diepenbeeck. 

St.  Arnold  ;  after  the  same. 

COLLIN  DE  VERMONT,  Htacinthe,  a  French 
historical  painter,  was  born  at  Versailles  in  1693. 
He  was  a  grandson  of  H.  Rigaud  and  a  pupil  of 
Jouvenet,  and  was  received  into  the  Academy  in 
1725,  when  he  painted  the  '  Birth  of  Bacchus,'  now 
in  the  Museum  of  Tours.  Collin  de  Vermont  was 
one  of  the  twelve  painters  who  in  1727  took  part 
in  the  competition  held  in  the  Gallery  of  Apollo. 
'He  died  in  Paris  in  1761. 

COLLINGS,  S. ,  a  caricaturist  and  subject  painter, 
flourished  in  the  latter  part  of  the  18th  century. 
He  occasionally  exhibited  at  the  Royal  Academy. 

COLLINS,  Charles,  who  died  in  1744,  painted 
birds,  game,  and  still-life. 


COLLINS,  Charles  Allston,  a  younger  son  of 
William  Collins,  was  bom  at  Hampstead  in  1828. 
He  first  exhibited  in  1847,  and  gave  up  the  art  in 
1858.  Among  the  chief  pictures  exhibited  by  him 
at  the  Royal  Academy  we  may  mention  '  Convent 
Thoughts'  (1851),  'The  Devout  Childhood  of  St. 
Elizabeth  of  Hungary'  (1852),  and  'The  Good 
Harvest  of  1854'  (1855);  which  is  now  at  South 
Kensington.  He  was  also  an  author,  and  con- 
tributed to  '  Household  Words '  and  '  All  the  Year 
Round,'  when  the  latter  was  edited  by  Charles 
Dickens.  He  also  wrote  (in  1863)  '  A  Cruise  upon 
Wheels,'  a  clever  description  of  liis  travels,  which 
met  with  a  deservedly  favourable  reception,  and 
several  novels.  He  was  a  younger  brother  of 
Wilkie  Collins  the  novelist,  and  son-in-law  of 
Dickens,  for  whom  he  furnished  the  illustrated 
title-page  of  '  Edwin  Drood.'  His  contributions 
to  'All  the  Year  Round'  are  amongst  the  most 
charming  of  its  papers.  He  died  after  a  long 
illness  in  1873. 

COLLINS,  Elizabeth  Johanna,  flourished  about 
the  middle  of  the  18th  century.  She  made  designs 
for  book  illustrations. 

COLLINS,  Jacob,  an  engraver  of  portraits  and 
frontispieces  for  books,  worked  in  the  18th  century. 

COLLINS,  James,  flourished  about  the  year  1715. 
We  have  some  prints  by  him  representing  views  of 
buildings,  among  which  is  the  large  plate  of 
Canterbury  cathedral. 

COLLINS,  John,  was  an  English  engraver,  who 
flourished  about  the  year  1682.  He  engraved  some 
very  indifferent  copies  from  the  grotesque  figures 
published  by  the  Bonnarts  at  Paris,  called  Scara- 
mouch and  his  Company  of  Comedians.  We  have 
also  some  portraits  by  him  ;  and  the  Funeral  Pro- 
cession of  George,  Duke  of  Albemarle. 

COLLINS,  John,  flourished  in  England  about 
1744.  At  Hampton  Court  are  a  'Shepherd'  and 
a  '  Shepherdess  '  by  him. 

COLLINS,  Richard,  a  miniature  painter,  was 
born  in  Hampshire  in  1755.  He  was  a  pupil  of 
Jeremias  Meyer.  In  1777  he  exhibited  some  por- 
traits at  the  Royal  Academy,  and  in  1787  became 
chief  miniature  and  enamel  painter  to  George  III. 
He  died  in  London  in  1831. 

COLLINS,  Samdel,  a  native  of  Bristol,  practised 
miniature  painting  at  Bath,  and  there  imparted 
instruction  to  Ozias  Humphrey.  About  1762  he 
removed  to  Dublin  and  practised  there  with  success. 
His  death  is  not  recorded. 

COLLINS,  William,  who  is  so  well  known  by 
the  rustic  simplicity  of  his  pictures,  was  born  in 
London  in  1788.  His  father,  a  native  of  Wicklow 
in  Ireland,  although  of  literary  abilities  and  a  poet, 
was  obliged  also  to  carry  on  the  business  of  a  picture 
dealer  in  order  to  obtain  the  means  to  support  his 
family.  Amongst  other  works,  he  wrote  a  Life  of 
Morland,  who  allowed  the  young  painter  to  visit  his 
studio  and  to  watch  him  paint,  and  by  examining 
the  works  of  the  two  men  it  will  be  seen  that  the 
early  impressions  made  by  the  eccentric  artist  had 
a  decided  influence  on  the  art  of  Collins,  although 
the  latter  denied  that  he  ever  obtained  any  great 
advantage  in  the  practical  part  of  his  art  from  the 
instruction  which  he  received  from  Morland. 

In  1807,  after  having  studied  for  many  years 
under  his  father's  guidance,  he  at  length  obtained 
admission  as  a  student  into  the  Royal  Academy, 
where  he  gained  a  silver  medal  for  drawing  from 
the  life  in  1809.  Even  at  this  early  period  he 
beean  to  exhibit  at  the  annual  exhibitions,  and  his 

^  315 


A    BIOGRAPHICAL   DICTIONARY   OF 


first  work  was,  '  Boys  u-ith  a  Bird's  Nest.'  In  1812 
he  lost  his  father,  who  died  leaving  his  family  in  a 
state  of  destitution,  and  wholly  dependent  on  the 
young  artist  for  means  of  subsistence.  Collins, 
however,  met  with  generous  assistance  from  his 
friends.  Among  his  early  patrons  were  Sir  Thomas 
Heathcote,  Sir  John  Leicester,  Sir  George  Beaumont, 
Sir  Robert  Peel,  and  the  Earl  of  Liverpool.  In 
this  year  he  painted  one  of  his  principal  pic- 
tures of  rustic  life,  "The  Sale  of  the  Pet  Lamb.' 
'The  Burial-place  of  a  Favourite  Bird,'  exhibited 
at  the  same  time,  and  possessing  the  same  quahties 
of  tender  pathos  and  unaffected  sentiment,  so  far 
advanced  CoUins  in  the  opinion  of  his  brother  artists 
that  in  1814  he  was  elected  an  Associate  of  the 
Royal  Academy. 

In  1815  he  thought  he  would  try  fresh  subjects, 
and  accordingly  went  to  Cromer  to  study  the  sea 
and  the  habits  of  fishermen.  At  the  Gillott  sale  in 
1872  his  large  picture  of  '  Cromer  Sands'  brought 
3600  guineas. 

After  visiting  Norfolk  he  went  to  Hastings,  and 
there  painted  many  pictures  of  coast  scenery, 
enlivened  by  groups  of  fisher-boys,  boats,  &c.  In 
1818  one  of  these,  a  '  Scene  on  the  coast  of  Norfolk,' 
was  purchased  by  the  Prince  Regent,  and  now 
hangs  in  Windsor  Castle.  This  patronage  by 
royalty  led  to  many  other  commissions,  so  that  the 
artist  rapidly  rose  to  fame  and  overcame  all  his 
pecuniary  difficulties. 

He  had  previously  been  compelled  to  resort  to 
portrait  painting  as  the  only  sure  means  of  profit : 
but  now  he  was  able  to  abandon  it  entirely,  and 
having  in  his  particular  branch  of  landscape  art,  as 
his  intimate  friend  Wilkie  told  him,  the  ball  at  his 
feet,  he  had  but  to  paint  as  he  had  begun  to  widen 
his  popularity.  In  1820  he  became  a  Royal  Aca- 
demician, giving  as  a  diploma  picture  'The  Young 
Anglers,'  and  for  the  next  sixteen  years  he  was  n 
constant  contributor  to  the  exhibitions,  sendinir 
occasionally  five  and  never  less  than  three  pictures. 
In  1822,  whilst  on  a  visit  to  Scotland,  he  married 
Miss  Geddes,  the  sister  of  Mrs.  Carpenter,  the 
portrait  painter. 

Collins  continued  to  paint  numerous  pictures  of 
rustic  life  with  great  success ;  amongst  which 
'  Rustic  Civility  '  and  '  As  Happy  as  a  King '  are 
perhaps  the  most  popular.  A  replica  of  the  latter 
now  hangs  in  the  National  Gallery.  Wilkie  Collins 
(the  well-known  novelist,  and  author  of  a  Life  of 
his  father,  published  in  184><),  says  that  the  subject 
of  this  painting  was  suggested  to  his  father  by  the 
story  of  the  country  boy  whose  ideal  of  happiness 
was  swinging  upon  a  gate  all  day  long  and  eating 
fat  bacon. 

In  1836  Collins  visited  Italy,  having  been  re- 
peatedly urged  by  his  friend  Wilkie  to  see  the 
beauties  of  that  country.  He  remained  two  years 
abroad,  and  on  his  return  the  pictures  which  he 
exhibited  surprised  his  former  admirers ;  but  it  is 
doubtful  whether  the  Italian  journey  was  at  all 
beneficial  to  his  reputation. 

It  is  said  that  his  unwise  practice  of  painting  at 
all  times  of  the  day  while  at  Sorrento,  though  he 
was  warned  of  its  folly  by  his  friends,  sowed  the 
seeds  of  the  disease  by  which  he  was  vanquished  at 
last.  A  rheumatic  attack  left  behind  it  disease  of 
the  heart,  and  although  he  lived  for  eleven  years 
afterwards,  he  was  never  the  same  man  again.  It 
was  under  great  suffering  that  he  painted,  in  1846, 
his  beautiful  picture  of  '  Early  Morning.'  He  died 
in  London  in  1847. 
316 


In  1817  he  had  visited  Paris ;  in  1828  Holland 
and  Belgium  ;  in  1840  Germany  ;  and  in  1842  the 
Shetland  Isles. 

His  pictures  were  at  first  landscapes  with  figures 
and  simple  incidents  introduced — then  subjects  on 
the  sea  coast ;  occasionally  portraits  ;  and  latterly, 
after  his  Italian  journey,  sacred  subjects. 

His  works  are  very  numerous :  there  are  no  less 
than  twelve  in  the  Sheepshanks  and  Townshend 
Collections  in  the  South  Kensington  Museum.  The 
following  are  some  of  the  principal,  and  are  typical 
of  the  rest.     Several  have  been  engraved. 

1811.  A  Country  Kitchen  (m  tJu  Sheepshanks  Collection 
at  South  Kensington). 

1813.  The  Sale  of  the  Pet  Lamb. 

1814.  Bird  Catchers — Morning  (one   of  the  best  of  his 

early    works,   the    property  of   the  Marquis    »f 
Lansdowne), 

1816.  Shrimp  boys  at  Cromer. 

1817.  Fishermen  coming  ashore  before  sunrise, 
1S18.  Coa.st  of  Norfolk. 

1819.  Morning — Fishermen  on  the  look-out, 
1823.  Scene  near  Chichester, 

1823.  Scene  in  Borrowdale. 
,,     Walmer  Castle. 

1824.  The  Cherry  Seller. 

1825.  Fishermen  getting  out  their  nets, 
1827.  A  Frost  Scene. 

1823.  Scene  m  Freshwater  Bay,  Isle  of  Wight. 

1829.  Scene  in  a  Kentish  Hop  Gaden. 

1830.  Waiting  for  the  Arrival  of  Fishing  Boats,  Coast  of 

France. 

1831.  The  Prawn  Catchers  {in  the  National  Gallery) 

1833.  Rustic  Civility  {at  South  Kensington). 

1834.  Cottage  Hospitality. 
1836.  Sunday  Morning. 

,,    Leaving  Home. 

„     As  Happy  as  a  King  (a  replica  is  in  the  National 

Gall  try). 
,,    Bayham  Abbey  {at  South  Kensington). 

1839.  A  Scene  near  Subiaco,  Eoman  States. 

1840.  Our  Saviour  with  the  Doctors  in  the  Temple  {the 

properly  of  the  Marquis  of  Lansdoxcne). 
,,     Ave  Maria,  Naples. 

1841.  The  Two  Disciples  at  Emmaus, 
,,     Ischia,  Bay  of  Naples. 

1842.  Welsh  Guides,  Uanberris. 

1843.  The  Caves  of  Ulysses  at  Sorrento  {South  Kensing- 

ton). 
„    The  World  or  the  Cloister. 

1844.  Morning,  Boulogne. 

,,     Seaford,  Sussex  {at  South  Kensington). 
1846.  Early  Morning. 

,,     Meailfoot  Bav,  Torquay. 

„    Hall  Sands,  Devonshire  (at  South  Kensington). 

■  Collins  engraved,  in  a  mixed  manner  of  etching 
and  mezzotint,  some  of  his  own  paintings  of  coast 
scenes. 

COLLINSON,  James,  who  studied  in  the  schools 
of  the  Royal  Academy,  first  exhibited  at  its 
Exhibitions  in  1847,  '  The  Charity  Boy's  Debut.' 
In  1848-49  he  became  one  of  the  seven  original 
members  of  the  Pre-Raphaelite  Brethren,  of  whom 
five  were  painters:  and  in  1851  appeared  his  best 
work  done  under  the  influence  of  that  teaching 
—'An  Incident  in  the  Life  of  St.  Elizabeth  of 
Hungary,'  in  illustration  of  Charles  Kingsley]s 
'Saint's' Tragedy.'  CoUinson  soon  after  left  this 
Fraternity,  became  a  Roman  Catholic,  and  spent 
the  years  1852-1854  in  a  convent.  He  was  subse- 
quently a  frequent  exhibitor  at  the  Royal  Academy, 
and  he  also  sent  works  to  the  British  Institution 
and  the  Society  of  British  Artists,  of  which  he 
was  a  member  from  1861  till  1870.  in  which 
year  his  active  art  life  seems  to  have  closed.  He 
died  in  1881,     Among  the  best  of  his  early  works 


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PAINTERS  AND  ENGRAVERS. 


The  Rivals.     Rnyal  Academy.     1848. 

Italian  Image  Boys.    Royal  Academy.     1849. 

Answenngthe  Emigrant's  Letter.  Royal  Academy.  1850. 

COLLYER,  Joseph,  an  engraver,  was  born  in 
London  in  1748,  and  became  a  pupil  of  Anthony 
Walker.  He  applied  himself  to  book  illustration 
with  success ;  and  attracting  the  notice  of  Alder- 
man Boydell,  was  employed  to  make  an  engraving 
afterD.Teniers.andanotherof  the 'Irish Volunteers,' 
after  Wheatley.  He  subsequently  engraved,  with 
great  success,  Sir  J.  Reynolds'  '  Venus,'  and  '  Una,' 
in  imitation  of  chalk,  the  '  Girl  with  a  Cat,'  the  por- 
traits of  Miss  Palmer,  niece  of  Sir  Joshua,  and  of 
Reynolds  by  himself.  He  was  elected  an  Associate 
Engraver  of  the  Royal  Academy  in  1786,  and  after- 
wards became  Portrait  Engraver  to  Queen  Charlotte. 
He  died  in  1827. 

COLOGNE.     See  Koln. 

COLOMBA,  LncA  Antonio,  who  painted  in  oil 
and  fresco,  was  born  at  Arogno  in  Switzerland,  in 
1661.  His  style  was  distinguislied  for  its  happy 
compositions  and  its  careful  design,  as  also  for  the 
delicate  and  tender  colours.  He  was  particularly 
admired  in  Germany,  where  he  painted  for  some 
time,  and  was  employed  by  the  Duke  Eberhard 
Ludwig  of  Wiirtemburg.     He  died  in  1737. 

COLOMBANO,  Antonio  Maria,  an  Italian  paint- 
er, of  the  town  of  Correggio,  who  flourished  from 
1596  to  1616.  Fifteen  pictures  by  him,  some  of 
large  dimensions,  are  mentioned  by  Pungilione 
in  his  Life  of  Antonio  AUegri.  The  subjects  are 
incidents  in  the  life  of  the  Virgin  and  the  infancy 
of  Christ. 

COLOMBEL,  Nicolas,  a  French  painter,  was 
born  at  Sotteville,  near  Rouen,  about  1644.  He 
went  to  Rome  when  quite  young,  and  remained 
there  until  1692,  forming  his  style  by  a  study  of 
the  works  of  Raphael  and  of  Nicolas  Foussin.  His 
pictures  met  with  considerable  success,  though  in 
the  opinion  of  critics  of  more  modern  days  he 
never  attained  any  real  approximation  to  the  works 
of  those  masters.  He  was  admitted  into  the 
Academy  of  St.  Luke  at  Rome  in  1686,  and  in  1694 
into  that  of  Paris.  The  Louvre  possesses  the  '  Mars 
and  Rhea  Sylvia,'  which  he  painted  for  his  recep- 
tion, and  an  able  work  representing  the  '  Miracle  of 
St.  Hyaointhe.'  He  was  much  employed  by  Louis 
XIV.  both  at  Versailles  and  at  Meudon.  Many  of 
his  works  have  been  engraved  by  Dufloc,  and  by 
Michel  Dossier.     He  died  in  Paris  in  1717. 

COLOMBINI,  CosiMO,  an  Italian  engraver, 
flourished  about  the  year  1764.  He  engraved 
among  other  things,  several  of  the  plates  for  the 
'  Museo  Fiorentino.'  A  great  part  of  the  portraits 
of   painters   in   that   work  are   by  his   hand ;   he 

marked  some  thus   <jL. 

COLOMBO,  AuEELio,  an  Italian  line-engraver, 
was  born  at  Varese  about  1785.  He  was  a  pupil 
of  Longhi  and  worked  at  Milan.  His  best  works 
are  the  '  Massacre  of  the  Innocents '  after  Raphael, 
and  a  '  Virgin  and  Child'  after  Luini. 

COLONIA,  Adam,  who  was  born  at  Rotterdam  in 
1634,  spent  the  greater  part  of  his  life  in  England. 
He  died  in  London  in  1685.  He  painted  land- 
scapes and  figures,  sometimes  in  the  maimer  of 
Berchem.  In  the  Copenhagen  Museum  there  is 
a  picture  by  him  of  '  Noah  building  the  Ark ' ; 
and  the  Lille  Museum  has  'The  Angel  appearing 
to  the  Shepherds  '  attributed  to  him. 

COLONIA,  Hendrik  Adriaan,  the  son  of  Adam 
Colonia,   and    the    brother-in-law   of    Van   Diest, 


by  whom  he  was  instructed,  was  bom  in  1668. 
He  sometimes  painted  the  figures  in  Van  Diest's 
landscapes,  and  also  painted  landscapes  in  imita- 
tion of  the  style  of  Salvator  Rosa.  He  died  in 
London  in  1701. 

COLONNA,  Michelangelo,  was  born  near  Como 
in  1600,  and  was  first  a  scholar  of  Gabriele 
Ferrantini,  but  he  afterwards  finished  his  education 
under  Girolamo  Curti,  called  Dentone.  In  con- 
junction with  that  master  he  executed  some  con- 
siderable works  in  fresco  in  the  churches  and 
palaces  at  Bologna,  Ferrara,  and  Modena, — Den- 
tone usually  painting  the  architecture  and  per- 
spective, and  Colonna  the  figures.  Their  most 
admired  works  were  the  great  perspective  painted 
for  San  Michele  in  Bosco,  and  a  saloon  in  the 
Palazzo  Grimaldi.  After  Dentone's  death,  Colonna 
painted  in  conjunction  with  Metelli  in  Bologna, 
Florence,  and  Genoa.  Philip  IV.  of  Spain  invited 
the  two  artists  to  Madrid,  where  they  executed 
several  works  in  fresco,  and  were  liberally  rewarded 
by  that  monarch.  Colonna  afterwards  worked 
with  Alboresi.  He  died  at  Bologna  in  1687.  His 
portrait  by  himself  is  in  the  Uffizi,  Florence. 

COLS,  Adolphe  F^lix,  a  French  portrait, 
genre,  and  landscape  painter,  died  at  Honfleur  in 
1880,  in  his  seventieth  year.  He  was  a  pupil  of 
Cogniet. 

COLSON,  GniLLAUME  Francois,  a  French  his- 
torical painter,  and  pupil  of  David,  was  born  in 
Paris  in  1785,  and  died  there  in  1850.  Among 
other  works,  he  painted  the  'Entry  of  General 
Bonaparte  into  Alexandria,'  which  is  at  Versailles. 

COLSON,  Jean  Baptiste  Gille,  was  a  French 
painter  of  portraits  in  miniature  and  water-colours. 
He  was  born  at  Verdun  in  1680,  and  assumed  his 
mother's  surrfame  of  Colson,  because  the  theatres 
of  the  fairs  had  brought  ridicule  upon  the  name  of 
Gilles.  Colson,  who  was  a  pupil  of  Christophe, 
and  a  member  of  the  Academy  of  St.  Luke,  died 
in  Paris  in  1762. 

COLSON,  Jean  Fean(;'ois  Gille,  the  son  of  the 
preceding,  was  born  at  Dijon  in  1733.  He  was  a 
pupil  of  his  faUier,  of  Frere  Imbert  at  Avignon, 
and  of  Nonotte  at  Lyons.  On  coming  to  Paris  he 
was  presented  to  the  Duke  of  Bouillon,  who  kept 
him  in  constant  employment  for  forty  years  as 
architect,  sculptor,  painter,  and  even  gardener. 
He  gained  a  high  reputation  as  a  portrait  painter, 
and  left  several  manuscripts  on  perspective,  poetry, 
and  the  fine  arts.     He  died  in  Paris  in  1803. 

COLTELLINI,  Michaele,  was  a  Ferrarese  artist, 
and  a  follower  of  Panetti  and  Garofalo,  who  lived 
in  the  16th  century.  He  is  the  author  of  a  '  Dead 
Christ  on  the  lap  of  the  Virgin '  in  the  Dresden 
Gallery,  formerly  assigned  to  Squarcione.  His 
oldest  panel  is  dated  1602,  and  represents  the 
'  Death  of  the  Virgin :  '  it  is  now  in  the  possession 
of  Count  Mazza,  at  Ferrara.  In  the  church  of 
Sant'  Andrea,  in  the  same  city,  is  a  '  Virgin  and 
Child  between  SS.  Michael,  Catharine,  John,  and 
Jerome,'  signed  and  dated  1606.  The  Gallery  of 
Ferrara  has  a  '  Madonna  and  Child  and  Saints,' 
signed  by  him  in  1642.  The  dates  of  his  birth 
and  death  are  uncertain. 

COLYN,  MiCHiEL,  according  to  Florent  Le  Comte, 
is  said  to  have  been  a  native  of  Antwerp.  He  en- 
graved some  plates  of  architectural  subjects,  among 
which  is  a  view  of  the  Exchange  at  Amsterdam. 

COLYNS,  Arnold,  lived  at  Cologne  towards  the 
end  of  the  16th  centurj',  and  the  Museum  of  that 
town  contains  some  '  Scenes   from  the  Battle  of 

317 


A  BIOGRAPHICAL  DICTIONARY  OF 


Woringen,'  painted  by  bim  in  1582,  which  bear 
strong  resemblance  to  the  works  of  his  contem- 
porary Johann  von  Aachen. 

COLYNS,  David,  was  bom  at  Amsterdam  about 
the  year  1650.  He  painted  historical  pictures  of  a 
small  size,  into  which  he  introduced  an  infinite 
number  of  figures,  which  he  grouped  with  great 
ingenuity.  His  pictures  are  touched  with  spirit 
and  fineness.  Houbraken  extols,  in  high  terms, 
two  pictures  by  this  master  at  Amsterdam,  one 
representing  'Moses  striking  the  Rock,'  the  other 
the  '  Israelites  fed  by  the  Miracle  of  the  Manna.' 
,  COMBES,  Peter,  was  an  English  engraver  in 
mezzotint,  who  flourished  about  the  year  1700. 
He  was  chiefly  employed  in  engraving  portraits, 
among  which  is  a  small  whole-length  of  Master 
Charles  More,  son  of  the  Bishop  of  Ely,  after 
Kerseboom. 

COMERFORD,  John,  who  was  bom  at  Kilkenny 
in  1773,  practised  as  a  miniature  painter  in  Dublin 
for  many  years.  He  died  at  Dublin  about  1835. 
A  portrait  in  miniature  of  an  '  English  Military 
OflScer,'  by  him,  is  in  the  South  Kensington 
Museum. 

COMIN,  JovAN,  or  Jan,  who  flourished  about 
the  year  1630,  engraved  some  of  the  plates  of  an- 
tique statues  for  the  Giustiniani  Gallery.  They  are 
executed  with  the  graver  in  a  stiff,  tasteless  style. 

COMO,  Fra  Emmanuello  da,  born  in  1586,  was 
a  Franciscan  monk,  and  studied  art  under  the 
direction  of  Silla  at  Messina.  He  distinguished 
himself  by  his  pure  and  simple  style,  which  is 
the  more  creditable  as  he  flourished  at  a  time 
when  taste  for  art  was  in  a  most  deplorable  state. 
Several  frescoes  by  him  are  in  the  library  of  the 
Irish  convent  of  St.  Isidore  at  Rome.  He  died 
in  1662. 

COMODI,  Andrea,  a  Florentine  painter,  was 
bora  in  1560.  He  was  the  scholar  and  friend  of 
Lodovico  Cardi,  called  Cigoli.  He  is  rather  to  be 
considered  as  a  Roman  than  a  Florentine,  as  he 
went  to  Rome  when  he  was  young,  in  the  pon- 
tificate of  Urban  VIII.,  and  resided  there  the 
greater  part  of  his  life.  His  principal  works  are : 
'  Christ  bearing  his  Cross,'  in  the  Tribune  of  San 
Vitale  ;  in  San  Carlo  ai  Catinari,  the  principal  altar- 
piece,  the  Titular  Saint  kneeling  ;  in  San  Giovanni 
in  Fonte,  the  '  Baptism  of  Christ  by  St.  John.'  He 
painted  a  number  of  Madonnas,  which  Lanzi  says 
are  distinguished  by  the  smallness  of  the  neck, 
and  a  certain  air  of  virgin  modesty,  which  is  pecu- 
liar to  him.  One  of  the  most  admired  of  these  is 
in  the  Corsini  Palace.  Comodi  went  afterwards  to 
Cortona,  where  he  became  the  instructor  of  Pietro 
Berrettini,  who  assisted  him  afterwards  in  several 
of  his  paintings.  On  his  return  to  Florence  he 
painted  some  works  from  his  own  designs,  but 
more  especially  he  copied  and  re-copied,  in  a  skilful 
manner,  the  works  of  the  great  masters,  among 
which  were  many  pictures  of  the  Virgin,  to  whom 
he  was  most  devoted.  These  were  mistaken  at  the 
time,  even  by  the  learned  in  art,  for  the  originals. 
Such  being  the  case  two  centuries  ago,  how  diffident 
should  we  be  in  pronouncing  judgment  on  the 
originality  of  his  works  in  the  present  day.  He 
died  in  Florence  in  1638. 

COMONTES,  Francisco  de,  a  son  of  Inigo  de 
Comontes,  executed  in  1533  the  principal  retablo 
of  the  chapel  of  Los  Reyes  Nuevos  in  Toledo  cathe- 
dral, from  the  design  of  Felipe  de  Vigarny.  In 
1645-7,  he  painted  for  the  winter  chapter  room 
portraits  of  Cardinal  Archbishop  Tavera  and  Arch- 

318 


bishop  Siliceo  ;  in  the  latter  year  he  was  appointed 
painter  to  the  cathedral,  which  office  he  retained 
until  his  death  in  1565.  Pictures  on  panel  of  the 
'Virgin  and  St.  Bartholomew,'  placed  in  1559  in  a 
retablo  gilt  by  his  own  hands,  in  the  chapel  of  the 
Tower,  are  considered  his  best  works. 

COMONTES,  Inigo  de,  was  a  scholar  of  Antonio 
del  Rincon.  In  1495  he  painted  a  '  History  of  Pilate ' 
in  the  Cathedral  of  Toledo,  and  a  picture  for  one  of 
the  porches.  No  traces  of  his  works  remain.  His 
brother,  ANTONIO  DE  Comontes,  was  also  a  painter. 

COMPAGNO,  SciPiONE,  an  Italian  painter,  was 
bom  at  Naples  about  1624,  and  was  still  living 
in  1680.  He  was  a  pupil  of  A.  Falcone  and  of 
Salvator  Rosa,  and  his  drawings  are  held  in  esteem. 
The  Belvedere,  Vienna,  contains  two  works  by  him, 
the  '  Eruption  of  Vesuvius  '  and  the  '  Beheading  of 
St.  Januarius.' 

COMPE,  Jan  ten.     See  Ten  Compb. 

COMPTE-CALIX,  Francois  Claudids,  a  French 
painter  of  genre  subjects  and  portraits,  was  born 
at  Lyons  in  1813.  He  studied  in  the  fine  art 
school  of  his  native  city,  and  in  the  studio  of  J.  C. 
Bonnefond,  and  first  exhibited  at  the  Paris  Salon 
in  1840.  His  '  Vieil  Ami,'  painted  in  1863,  was 
in  the  International  Exhibition  at  Paris  in  1867. 
He  died  at  Chazay  d'Azergues  near  Lyons  in  1880. 

COMTE,  Le.     See  Lecomte. 

CONCA,  Sebastiano,  was  bora  at  Gaeta  in 
1679,  and  was  educated  in  the  school  of  Francesco 
Solimena.  Under  that  master  he  acquired  a 
competent  ability  in  design,  and  a  great  facility. 
In  the  early  part  of  his  life  he  was  much  occupied 
in  portrait  painting.  Desirous  of  seeing  Rome, 
and  ambitious  of  distinguishing  himself  in  a 
more  elevated  branch  of  the  art,  he  visited  the 
metropolis  of  Italy,  with  his  brother  Giovanni,  in 
1706,  and  for  five  years  changed  the  pencil  for  the 
portecrayon,  and  was  occupied  in  drawing  from 
the  antique,  and  the  works  of  the  great  masters. 
The  progress  he  had  made  under  Solimena,  im- 
proved by  his  studies  at  Rome,  enabled  him  to 
produce  some  pictures  which  attracted  the  notice 
of  Clement  XI.,  who  employed  him  in  decorating 
bis  church  of  San  Clemente  with  several  works  in 
fresco,  which  gave  so  much  satisfaction  to  his 
patron,  that  he  conferred  on  him  the  order  of 
knighthood,  and  procured  him  every  great  public 
undertaking  of  that  time  at  Rome.  In  addition 
to  this,  he  painted  also  for  the  kings  of  Spain, 
Portugal,  Sardinia,  and  Poland,  and  for  the  Elector 
of  Cologne ;  also  at  Siena,  Pisa,  Loretto,  Palermo, 
Gaeta,  and  Naples.  For  this  flattering  success,  he 
was,  however,  more  indebted  to  the  state  of  deca- 
dence into  which  the  art  had  then  sunk  at  Rome, 
than  to  any  particular  or  original  merit  of  his  own. 
He  possessed  a  fertile  invention,  great  rapidity  of 
pencil,  and  a  colour  that  enchants  more  by  its 
brilliancy  than  its  trath.  In  his  attempts  to  be 
pleasing  he  sank  into  the  pretty,  and  alUiough  he 
evidently  aimed  at  grandeur,  he  never  could  divest 
himself  of  the  littleness  to  which  nature  had  con- 
fined him.  Perhaps  he  has  been  too  harshly 
treated  by  the  surly  criticism  of  Mengs,  who 
observes,  "  that  by  introducing  at  Rome  the  man- 
nered style  of  Solimena,  and  a  system  less  excel- 
lent than  expeditious,  he  put  the  finishing  touch  to 
the  ruin  of  painting."    He  died  at  Naples  in  1764. 

The  principal  works  of  Conca  are  : 
Ancona.  St.  Francis  Xavier 

Berlin.  Museum.       Abraham. 

Darmstadt.    Museum.      Joseph  in  Prison. 


GIOVANNI  BATTISTA  DA  CONEGLIANO 


CI  MA 


AHnarithoto~\  [The  Brera,  Milan 

ST.   PETER  MARTYR  AND  TWO  SAINTS 


GIOVANNI   BATTISTA  DA  CONEGLIANO 


CI  MA 


AuJersun  photo  [Parma  Gallery 

THE  VIRGIN  AND  CHILD,  WITH  SAINTS 


GIOVANNI  BATTISTA  DA  CONEGLIANO 


CIMA 


Aliuari  photo\ 


\Bologna  Gallery 


THE  MADONNA  AND  CHILD 


PAINTERS  AND   ENGRAVERS. 


Dresden.       ijallin/. 

Foligno. 

Loretto. 

Madrid.         Gallery. 


Herod  examiuing  the  Magi. 

St.  Augustine. 

St.  Nicholas. 

Christ  in  the  Wilderness. 

Death  of  Seneca. 


^°™«-  I  and  S^IZl. }    "^^^  Assumption  of  the  Virgin. 

Giovanni  Conca  painted  in  the  manner  of  his 
brother  Sebastiano,  and  copied  with  great  ability. 
We  have  by  him  several  cartoons  after  Guercino 
and  Lanfranco,  which  he  executed  for  mosaics. 

CONCHILLOS  FALCO,  Juan,  was  an  historical 
painter,  born  at  Valencia  in  1641.  He  was  a  pupil 
of  Esteban  Marc  in  that  city,  but  after  his  mas- 
ter's death  he  pursued  his  studies  in  Madrid.  He 
afterwards  returned  to  his  native  city,  where  he 
established  an  Academy  and  executed  a  number  of 
altar-pieces  for  the  churches  of  Valencia  and  of 
Murcia.  He  became  blind  and  paralysed,  and  died 
in  1711.  There  is  also  an  etching  by  him,  repre- 
senting '  The  Dead  Christ  mourned  by  Mary,  John, 
and  the  Magdalene.' 

CONCONI,  Madro,  an  Italian  painter,  was  born 
in  Milan  in  1815,  and  died  in  1860.  He  was  a  pupil 
of  Sanguinetti,  and  is  represented  in  the  Brera,  in 
his  native  city,  by  a  portrait  of  Carlo  Bellosio, 
the  painter. 

COND]^,  John,  was  an  engraver  who  lived  in 
the  latter  years  of  the  18th  century.  He  executed 
tastefully  in  the  dotted  style  whole-length  por- 
traits of  Mrs.  Bouverie,  Mrs.  Fitzherbert,  Mrs. 
Tickell,  and  other  ladies,  after  Cosway.  He  also 
engraved  a  small  oval  portrait  of  Madame  Du 
Barry,  after  the  same  painter,  but  this  bore  no 
resemblance  to  the  lady  represented,  and  was  pro- 
bably fictitious. 

CONDY,  Nicholas  Matthew,  who  was  born  at 
Plymouth  in  1799,  painted  landscapes  and  marine 
subjects.  He  published  a  work  on  '  Cotliele,  on 
the  Tamar,  the  ancient  seat  of  the  Earl  of  Mount 
Edgecumbe,'  as  well  as  some  views  on  the  Thames. 
He  died  at  Plymouth  in  1857. 

CONEGLIANO,  Giovanni  Battista  da,  (com- 
monly called  CiMA  da  Conegliano,)  was  liorn  at 
Conegliano  in  Friuli,  in  the  middle  of  the  15th 
century.  The  name  '  Cima  '  was  given  him  from 
his  habit  of  constantly  introducing  into  his  pictures 
the  hills  and  landscapes  of  his  native  place,  and  he 
was  called  in  the  17th  and  following  centuries  (but 
not  by  his  contemporaries)  by  no  other  name. 
He  was  probably  a  pupil  of  Alvise  Vivarini,  but 
was  strongly  influenced  by  Giovanni  Bellini.  An 
early  painting  is  a  tempera  '  Madonna  and  Saints,' 
of  1489,  in  the  Gallery  of  Vicenza,  but  having  settled 
in  Venice  towards  the  close  of  the  15th  century, 
he  perceived  the  necessity  of  adopting  the  new 
method.  One  of  his  finest  works  is  a  '  Glory  of  St. 
John  the  Baptist,'  which  was  painted  in  oil  for  the 
church  of  the  Madonna  dell  Orto,  and  may  still  be 
seen  there.  In  1492  he  executed  the  altarpiece  of 
the  'Virgin  and  Saints'  in  the  cathedral  of  Cone- 
gliano, and  in  1494  the  beautiful  '  Baptism  of 
Christ,'  in  San  Giovanni  in  Bragora,  Venice.  In 
1501  he  finished  the  '  Incredulity  of  St.  Thomas' 
(now  in  the  National  Gallery)  for  the  Hospital  of 
Portogruaro  ;  and  in  1502  the  '  SS.  Constantino 
and  Helen '  for  the  church  of  San  Giovanni  of  the 
same  place.  In  the  Gallery  of  Parma  is  a  '  Virgin 
and  Child  between  SS.  Michael  and  Andrew,'  of 
his  execution,  that  was  long  considered  to  be  by 
Leonardo  da  Vinci ;  the  same  Gallery  possesses  a 
superb  '  Virgin  and  Child  enthroned  between  SS. 


Damian,  Apollonia,  Cosmo,  John,  Catharine  and 
Paul,  and  two  delightful  mythological  pieces, 
'Endymion'  and  'Apollo  and  Marsyas.'  The 
Academy  of  Venice  also  possesses  an  '  Incredulity 
of  St.  Thomas,'  painted  eariy  in  the  16th  century, 
ihe  time  of  his  death  is  uncertain.  His  latest 
works  bear  date  1508,  but  he  is  said  to  have  been 
still  working  in  1517.  Numerous  paintings  by 
him  can  be  seen  in  all  the  large  galleries.  They 
are  frequently  signed  'Joannes  Baptista  Cone- 
ghanensis.'  The  following  are  the  principal : 
Berlin.  Museum.        Madonna  and  Saints  (three). 

"  i>  St.  Mark  curing  Anianus. 

Kologna.         Pinacotcca.  MaJonna  and  Angels. 
Conegliano.    Cathedral.    Virgin   enthroned,  surrounded 
_  by  six  Saints,     1492. 

Dresden.         Museum.       The  Presentation  in  theTempIe. 
_      ",  It  Christ  in  Benediction, 

Frankfort.  Madonna  (txoo). 

London.  Nat.  Gall.    The  Infant  Christ  standing  on 

the  Knees  of  the  Virgin. 
t>  «  Madonna  with  the  Infant  Christ 

standing  on  her  Knee.s, 
"  ..  The  Incredulity  of  St,  Thomas, 

»»  i»  St.  Jerome, 

„  Hertford  U.  St,  Catharine. 

,  "  »  SS,  Sebastian  and  Roch. 

Milan.  Brera.  St,  Peter  in  cathedra  between 

St,  John  the  Baptist  and  St. 
Paul. 
>»  »  St,    Peter    Martyr,    with    SS. 

Nicholas  and  Augustin. 
n  ti  SS,  Jerome,  Nicholas,  Ursula, 

and  another, 
'>  >i  SS.  Luke,  Mary,  John  Baptist, 

and  Mark. 
t»  n  Madonna. 

»i  »>  St,  Jerome, 

»»  II  St.  Giustina  and  two  Saints. 

Poldi  PezzoH.  Head  of  female  S;iint, 
MoJena.         Museum.       Christ  taken  down    from    the 

Cross. 
Munich.         Pinakothek.  Virgin,   St.   Jerome,   and   the 

Magdalene. 
Olera.  Church.         Polyptych. 

Paris.  Louvre.         Virgin  and  Child(My/nefWoANi3. 

Bapt.  Coneglaneso  opus). 
Parma.  Museum.       Madonna  with  Saints  (two). 

i\  *i  Mythological  pieces  (two). 

Venice.        S.  Giovanni  1  t,     ..         „         .      , 
in  Bragora.  f  Baptism  of  our  Lord, 

II  ,,  St.  Helena  and  Constantine. 

„  Carmine.     The  Nativity. 

,,        SS.  Giovanni  e  )  Coronation       of       the       Ma- 

Paolo.  j      donna. 

„     S.Maria dell'Orto.St.    John   between  SS,    Paul, 

Jerome,  Mark  and  Peter. 
,,  Academy.      Pieti. 

,)  „  Madonna  with  SS.  John    and 

Paul. 
„  9,  Madonna. 

II  t.  Madonna  with  six  Saints. 

11  I,  Christ  and    St.    Thomas    and 

Magnus. 
,,  „  Tobias  and  the  Angel. 

Vicenza.         Museum.       Virgin  between  SS.  James  and 

Jerome  {painted  in  tempera). 

1489. 
Vienna.  Gallery.        Virgin  between  St.  Jerome  and 

St. Louis,  Bishop  of  Touloui>e. 

CONEY,  John,  an  architectural  draughtsman 
and  engraver,  was  born  at  Ratcliffe  Highway, 
London,  in  1786 ;  he  was  apprenticed  to  an  archi- 
tect, but  never  followed  the  profession.  He  com- 
menced making  pencil  drawings  of  the  interior 
of  Westminster  Abbey  and  other  Gothic  buildings 
as  early  as  the  age  of  fifteen  ;  these  he  sold  to 
dealers,  and  other  casual  customers,  at  very  small 
prices.  In  1815  he  published  his  first  work,  a 
series  of  eight  views  of  the  exterior  and  interior  of 

319 


A  BIOGRAPHICAL  DICTIONARY  OF 


Warwick  Castle,  drawn  and  etched  by  himself. 
Shortly  afterwards  he  was  emploj'ed  bj'  Harding 
to  draw  and  engrave  the  fine  series  of  exterior 
and  interior  views  of  the  Cathedrals  and  Abbey 
Churches  of  England,  to  illustrate  the  new  edition 
of  Dugdale's  '  Monasticon,'  edited  by  Sir  Henry 
Ellis.  These  plates  occupied  a  gTeat  portion  of 
his  time  for  fourteen  years,  and  are  executed  with 
consummate  skill.  In  1829,  he  commenced  the 
engravings  of  '  Ancient  Cathedrals,  Hotels  de  Ville, 
and  other  public  buildings  in  France,  Holland, 
Germany,  and  Italy ; '  all  of  which  were  drawn 
from  the  several  objects  by  himself.  This  work 
was  intended  to  be  comprised  in  twelve  parts,  but, 
not  meeting  with  the  public  encouragement  to 
which  it  was  entitled,  only  eight  were  published. 
Mr.  Charles  Heathcote  Tatham  wrote  the  necessary 
descriptions.  In  1831  Coney  commenced  a  similar 
series  of  the  '  Architectural  Beauties  of  Continental 
Europe,'  for  which  Mr.  H.  E.  Lloyd  wrote  the  de- 
scriptions. This  handsome  work  consists  of  28 
large  plates  of  remarkable  edifices  in  France,  the 
Low  Countries,  Germany,  and  Italy,  and  56  vig- 
nettes, all  drawn  and  etched  by  himself.  In  addi- 
tion to  these  laborious  undertakings,  he  executed 
numerous  drawings  in  pencil,  and  also  in  colours, 
for  private  commissions ;  and  necessity  often  com- 
pelled him  to  part  with  many  to  picture-dealers 
and  print-sellers.  He  was  employed  by  Cockerell, 
the  architect,  to  engrave  a  very  large  '  View  of 
Rome,'  and  another  plate  as  a  companion  to  it, 
neither  of  which  has  been  published.  His  draw- 
ings exliibit  all  the  minutest  details  without  the 
appearance  of  labour,  yet  with  a  neatness  that  is 
truly  surprising.  He  died  in  Camberwell  in  1833. 
A  '  View  of  the  Interior  of  Milan  Cathedral '  was 
pubUshed  after  his  death  for  the  benefit  of  his 
widow. 

CONGIO,  Cammillo,  an  Italian  designer  and 
engraver,  was  born  at  Rome  about  the  year  1604. 
In  1630,  he  engraved  some  plates  for  the  'Galleria 
Giustiniana.'  He  also  executed  some  of  the  en- 
gravings for  Tasso's  '  Jerusalem,'  after  the  designs 
of  Bernardo  Castello.  We  have  by  him  some  prints 
after  different  Italian  masters,  which  he  generally 
marked  GC  F.  His  works  most  worthy  of  notice 
are 

The  Annunciation. 

The  Adoration  of  the  Magi. 

Hercules  combating  the  Hydra. 

A  Frontispiece  entitled,  Biversi  ornamenti  capriciosi. 

The  Creation  of  Angels  ;  after  Qimassei. 

Frontispiece  to  the  Mies  BarbariuEe ;  after  Guido  Ubaldo 

A  hbatini. 
An  Assembly  of  Saints ;  after  Gasparo  Celio. 

CONGNET,  GiLLES,  (or  Coignet,)  was  bom  at 
Antwerp  in  1540.  He  was  some  time  under  a 
painter  called  Antonio  Palermo,  then  resident  at 
Antwerp,  and  afterwards  went  to  Italy.  After 
visiting  Terni,  Naples,  and  several  towns  in 
Sicily,  he  returned  to  the  Low  Countries,  where 
he  was  much  encouraged.  He  was  admitted  into 
the  Guild  of  St.  Luke  at  Antwerp  in  1561,  and  was 
dean  in  1584-85.  The  troubles  that  existed  at  that 
time  under  the  Prince  of  Parma,  obliged  Congnet 
to  leave  his  native  country  about  1586,  and  take 
refuge  in  Amsterdam,  where  he  remained  several 
years.  He  painted  historical  and  mjlhological 
Biilijects  of  an  easel  size,  but  was  more  successful 
in  landscapes,  in  candle-light  subjects,  and  moon- 
light. He  finally  settled  at  Hamburg,  where  he 
died  in  1599.    The  Museum  of  Antwerp  contains 

320 


a  '  St.  George  '  and  a  portrait  by  him,  and  that  of 
Cassel  a  '  Venus  and  Cupid  '  of  the  year  1579. 

CONINCK.     See  Kokinck. 

CONINCK,   De   (or    Coningh).      See    De   Ko- 

NINCK. 

CONINXLO,  CoRNELis  VAN,  (or  Conixlo,)  was  a 
Flemish  painter  of  the  16th  century,  of  whom 
nothing  has  been  recorded.  He  is  only  known  by 
a  painting  which  bears  his  signature,  '  CornUiB  va 
Conixlo  Scernir  1626,'  in  the  Brussels  Gallery;  it 
represents  the  '  Parentage  of  the  Virgin.' 

CONINXLO,  GiLLES  VAN,  (CONINGSLOO  Or  Co- 
NINCXLOY,)  a  Flemish  painter  of  landscapes,  and  a 
relation  of  the  other  artists  of  the  same  name,  was 
born  at  Antwerp  in  1544.  He  was  first  instructed 
by  Leonard  Kroes,  but  afterwards  became  a  scholar 
of  Gilles  Mostaert.  He  travelled  through  France  to 
Italy,  and  on  his  return  to  Flandere,  was  much  em- 
ployed in  painting  landscapes,  in  which  the  figures 
were  frequently  added  by  Martin  van  Cleef.  Co- 
ninxlo  was  esteemed  one  of  the  ablest  artists,  in 
the  branch  that  he  followed,  of  the  time  in  which 
he  lived.  His  touch  is  spirited  and  light,  and  his 
colour  clear  and  agreeable.  He  died  at  Antwerp 
in  1609.  His  only  known  work,  a  landscape 
dated  1604,  is  in  the  possession  of  Prince  Liechten- 
stein at  Vienna.  Nicolaas  De  Bruyn  engraved 
much  after  him. 

CONINXLO,  Jan  van,  was  born  at  Brussels  in 
1489  (?),  but  nothing  is  known  of  the  details  of 
his  career.  His  father,  who  bore  the  same  christian 
name,  had  another  son,  Pieter  van  Coninxlo  :  both 
were  painters.  The  name  is  found  written  in  a 
variety  of  ways — Coninxlo,  Conninxlo,  Connixlo, 
Cooninxloo,  Conixloo — and  sometimes  with  the 
additional  name  of  Schemier.  The  Brussels  Gallery 
contains  five  works  by  Jan  van  Coninxlo  :  a  trip- 
tych of  the  '  Life  of  St.  Anne,'  which  bears  on 
its  right  wing  (representing  the  death  of  that 
saint)  the  signature  '  Jan  van  Conixlo  1546  ' ;  the 
'  Birth  of  St.  Nicholas,'  and  the  '  Death  of  St. 
Nicholas,'  both  of  which  were  formerly  in  a  church 
in  Louvain ;  '  Christ  among  the  Doctors,'  and  the 
'  Marriage  at  Cana.'  These  were  formerly  attri- 
butea  to  Gilles  van  Coninxlo. 

CONJOLA,  Carl,  a  landscape  painter  in  water- 
colours  and  oil,  was  born  at  Mannheim  in  1773, 
and  died  at  Munich  in  1831.  His  views  are  prin- 
cipally of  the  mountainous  parts  of  Bavaria  and 
the  Tyrol. 

CONQUY,  Ephraim,  a  French  line-engraver,  was 
bom  at  Marseilles  in  1809,  and  died  in  Paris  in 
1843.  His  works,  many  of  which  are  portraits,  are 
noticeable  for  vigour  and  for  delicacy  of  finish. 
The  most  important  are  the  following : 

The  French  Mother  ;  after  Steuben. 

The  Child  Jesus  on  the  steps  of  the  Temple ;  after  Carl» 

Doh-i. 
St.  Catharine ;  after  the  same. 
St.  Cecilia  ;  ajfter  Domenichino, 
The  Neapolitan  Mother  ;  after  Horace  Vernet. 

CONRAD,  a  monk,  who  lived  about  the  middle 
of  the  13th  century,  compiled  a  number  of  learned 
works,  which  he  illustrated  \dt\i  pictures.  The 
Court  Library  at  Munich  possesses  several  of  his 
designs  for  these,  especially  an  'Evangeliarium'  and 
'  Lectionarium,'  in  which  there  is  evinced  a  more 
.idvanced  perception  of  the  true  natural  form  than 
is  to  be  found  in  most  miniatures  of  the  Roman 
style  in  Germany. 

CONRAD,  Abraham,  (or  Conradus,)  was  a  Dutch 
designer  and  engraver,  who  flourished  about  the 


1 


■1 


PAINTERS  AND   ENGRAVERS. 


year  1650.  His  plates  consist  chiefly  of  portraits, 
part  of  which  are  from  his  own  designs.  They 
possess  great  merit,  and  some  of  them  are  success- 
ful imitations  of  the  style  of  Lucas  Vorstermans. 
The  following  are  his  principal  prints : 

PORTRAITS. 

Christopher  Love. 

Jacob  Mglande,  professor  of  Theology  at  Leyden. 

Thomas  Maurois,  of  Canterbury,  ecclesiastic  at  Amster- 
dam ;  after  I).  Boudringhen. 

Godefroid  Hotton,  Pastor  of  the  French  Church  at 
Amsterdam  ;  after  H.  Mermans  ;  very  fine. 

The  Flagellation  ;  after  A.  Diepenbeeck. 

The  Crucifiiion  ;  after  the  sajne. 

CONRAD,  Carl  Emanuel,  an  architectural 
painter,  was  born  at  Berlin  in  1810,  and  instructed 
first  in  that  city,  and  afterwards  at  Dusseldorf. 
the  Academy  of  which  town  he  attended  from  18.3o 
till  1839.  Both  in  this  institution  and  at  the  Real- 
Bchule  he  gave  instruction  in  perspective  to  young 
artists,  and  received  the  title  of  professor,  the  Order 
of  the  Red  Eagle,  and  a  medal  from  the  Pope.  He 
painted  buildings  of  the  middle  ages,  with  land- 
scape surroundings,  such  as  '  The  Church  of  St. 
Quirinus  in  Neuss,'  '  The  Cloister  of  St.  Severinus 
in  Cologne  '  (1837),  '  The  Cathedral  of  Mayence ' 
(1841),  'Custom  House  in  London'  (1852), 
'  Views  of  Cologne  Cathedral,'  &c.  He  also  exe- 
cuted some  excellent  acquatints,  as  '  Pius  IX.  in  his 
Cabinet,'  and  '  An  Assemblage  at  Sigmaringen  in 
the  Olden  Time '  (1872).  He  died  at  Cologne  in 
1873. 

CONRADER.     See  Konrader. 

CONSCIENCE,  FRANgois  Antoine,  a  French 
painter  of  animals,  who  always  exhibited  under  the 
name  of  Francis.  He  was  born  at  Besanjon  in 
1795,  became  a  pupil  of  Gu6rin,  and  died  at  Luxe- 
uil  in  1840. 

CONSETTI,  Antonio,  an  Italian  historical 
painter,  who  was  born  at  Modena  in  1686,  and  died 
in  1766,  is  represented  in  the  Estense  Gallery,  in 
his  native  city,  by  '  The  Virgin  of  the  Rosary  with 
St.  Dominic,'  and  '  St.  Joseph  and  Angels.' 

CONSORTI,  Bernardo,  an  Italian  line-engraver, 
was  born  at  Rome  about  1785.  He  engraved  the 
'  Holy  Family  with  the  Family  of  St.  John  '  after 
Garofalo,  the  '  Entombment '  after  Van  Dyck,  and 
'  Psyche  '  and  other  sculpture  after  Canova. 

CONSTABLE,  John,  one  of  the  greatest  realistic 
landscape  painters'  oi  England,  was  born  at  East 
Bergholt,  in  Suffolk,  on  the  11th  of  June,  1776. 
It  is  recorded  that  he  was  so  weakly  at  his  birth, 
that  he  was  baptized  on  the  same  day.  He  was 
sent  to  school  at  Lavenham  and  afterwards  to 
Dedham,  where,  it  is  said,  the  boy  was  distin- 
guished for  little  more  than  his  penmanship.  His 
father,  a  wealthy  miller,  at  first  intended  him 
to  enter  the  Church,  but  as  he  had  no  taste  for 
theological  studies,  the  old  man  changed  hia 
mind,  and  determined  that  his  son  should  follow 
his  own  trade  ;  and,  although  the  youth  showed  a 
decided  taste  for  painting,  he  would  on  no  account 
hear  of  his  making  that  a  profession.  John,  how- 
ever, made  friends  with  a  village  plumber  and 
glazier,  of  the  name  of  Dunthorne,  who  was  an 
enthusiast  in  art,  and  these  two  used  to  study 
painting  in  the  fields  ;  and  thus  it  was  that  he  took 
his  study  from  the  books  of  nature.  As  Constable 
grew  up,  he  was  known  from  his  good  looks  and 
fine  figure  as  the  '  handsome  miller ' ;  and  when  he 
was  eighteen  years  of  age,  he  spent  a  year,  under 
the  pretext  of  carrying  on  his  business  as  a  miller, 


in  observing  the  picturesque  effects  of  the  heavens 
and  the  earth,  and  copying  the  drawings  of  Girtin, 
which  had  been  lent  to  him  by  Sir  George 
Beaumont. 

In  1795,  Sir  George's  patronage  and  his  own 
unmistakable  genius  for  art,  induced  his  parents  to 
allow  him  to  go  to  London  to  study  painting. 
Shortly  afterwards,  however,  he  was  recalled  to 
his  native  village,  where  he  for  some  time  shared 
his  father's  labours ;  and  it  was  not  until  1799 
that  he  revisited  London.  In  the  same  year 
he  was  admitted  as  a  student  into  the  Royal 
Academy,  and  he  received  some  instruction  from 
Farrington  and  Reinagle,  and  painted  a  few  por- 
traits, and  attempted  historical  subjects ;  but  his 
true  instructor  was  Nature,  and  his  true  branch  of 
art  was  landscape  painting ;  and  in  the  year  1802 
one  of  his  landscapes  was  included  in  the  Royal 
Academy  Exhibition. 

During  the  following  years  he  stayed  in  the 
summer  months  in  the  country,  "  living  nearly 
always  in  the  fields,  and  seeing  nobody  but  field 
labourers,"  and  sent  to  the  Royal  Academy  and  the 
British  Institution  numerous  landscapes  and  studies. 
He  was  twice  induced  to  paint  an  altar-piece  :  one, 
'  Christ  blessing  little  Children,'  for  Brantham  Church, 
in  1804,  and  the  other,  '  Our  Saviour  blessing  the 
bread  and  wine,'  for  Nayland  Church,  in  1809  ;  but 
it  is  believed  that  he  never  again  attempted  sacred 
Bubjects. 

The  whole  life  of  Constable  is  a  testimony  to  his 
preference  for  the  study  of  nature :  his  letters  to 
Archdeacon  Fisher,  of  Salisbury,  and  to  his  old 
friend,  John  Dunthorne,  are  full  of  delicate  observ- 
ations on  the  subject,  and  show  a  fresh  appreciation 
of  the  qualities  of  the  country  and  the  various 
methods  of  landscape  painting.  The  more  his  talent 
was  developed,  the  greater  became  his  wish  to 
depart  from  the  popular  style  of  classical  painting 
at  that  time  in  vogue,  and  to  observe  directly  all 
the  different  aspects  of  nature. 

Though  a  hard  worker,  it  appears  that  Constable 
met  with  little  success  for  manyyears,  and  in  1811 
he  was  still  without  reputation,  except  among  a  few 
friends  ;  some  of  whom  were  Sir  George  Beaumont, 
Reinagle,  Bishop  Fisher,  and  IVIiss  Mary  Bicknell, 
whom  he  married,  secretly,  in  1816.  But  in  the 
year  1819  Constable  was  elected  an  Associate  of 
the  Royal  Academy,  and  ten  years  afterwards  an 
Academician. 

About  this  time  Constable's  pictures  began  to 
gain  notoriety,  and  a  French  speculator,  who  had 
bought  three  at  the  Royal  Academy,  sent  them  to 
the  Paris  Salon  in  1824.  These  were  'The  Hay 
Cart,'  a  'View  near  London,'  and  'The  Lock  on 
the  Stour.'  These  pictures  were  much  admired  at 
Paris ;  the  native  artists  were  astonished  at  the 
power  displayed  in  them,  and  the  King  of  the 
French  awarded  Constable  a  gold  medal. 

In  the  year  1827,  '  The  Corn- Field,'  one  of  his 
masterpieces,  was  exhibited  at  the  British  Institu- 
tion, where  it  held  its  own  even  in  the  neighbour- 
hood of  works  by  Claude  and  Cuyp. 

In  the  same  year  Constable  took  up  his  abode  at 
Hampstead,  his  dear  Hampstead,  his  sweet  Hamp- 
stead,  as  he  called  it.  He  says,  "  My  httle  studio 
commands  a  view  without  an  equal  in  all  Europe." 
Here  he  loved  to  sketch,  and  the  neighbourhood 
furnished  him  with  many  studies  for  his  pictures, 
as  did  also  Osmington,  the  birthplace  of  his  wife, 
and  Salisbury,  the  residence  of  his  friend  Fisher. 
He  continued  to  send  many  contributions  to  the 

321 


A  BIOGRAPHICAL  DICTIONARY   OF 


Academy ;  amongst  the  most  noted  may  be  men- 
tioned 'Salisbury  Cathedral,'  and  'The  Valley 
Farm,'  (known  as  Willy  Lott's  House,)  situated  on 
the  Stour  near  Flatford  Mill. 

Constable  published  in  1830-32  a  set  of  mezzo- 
tint engravings  of  '  English  Landscapes,'  by 
David  Lucas,  from  pictures  painted  by  himself. 
"  The  subiects  of  all  the  plates  are  taken  from  real 
places  ;  they  are  mostly  rural,  and  are  meant  par- 
ticularly to  characterise  the  scenery  of  England." 
He  also  gave  numerous  lectures  on  the  study  of 
nature,  and  occasionally  painted  in  water-colour. 

Constable  died  suddenly  in  Charlotte  Street, 
Fitzroy  Square,  London,  on  the  1st  of  April,  1837. 
His  '  Memoirs,'  composed  chiefly  of  his  letters, 
were  published  by  C.  R.  Leslie,  R.A.,  in  1843,  and 
ao-ain  with  additions  in  1845.  The  first  edition  con- 
tains the  plates  by  Lucas  of  '  English  Landscapes.' 
He  was  one  of  the  deceased  painters  who  were 
represented  in  the  London  International  Exliibition 
of  1874,  when  the  following  pictures  by  him  were 
lent  for  exhibition  : 
The  Embarcation  of  George  IT.  from  'WliitehaU  ou  the 

occasion  of  the  opening  of  'Waterloo  Bridge. 
Dedham  Farm. 
The  Hay  Wain. 
The  Leaping  Horse. 
Englefield  House. 
The  Valley  of  the  Stour. 
A  Dell  in  Helmiugham  Park ;  besides  nnmerous  sketches 

for  his  other  well-known  works. 
The  following  are  his  principal  works  in  public 
galleries : 

London.  National  Gall.  The  Cornfield  (or  Country  Lane), 
painted  in  1826. 
„  „  „      The  VaUey  Farm  ("Willy  Lett's 

House),  exhibited  at  the  Boyal 
Academy  in  1835. 
„  „  „      A  Cornfield  with  figures. 

,j  „  „       Barnes  Common. 

5.  Kensington  Salisbury  Cathedral   (^signed  and 
dated  1823). 
„  „      Dedham  Mill  (signed  and  dated 

1820). 
„  „       Hampstead  Heath  (exhibited  at 

the  Royal  Academy  in  1827). 
,^  „       Hampstead  Heath    (exhibited  at 

the  Royal  Academy  in  1830). 
„       Boat-Building,  near  Flatford  Mill. 
„  „  „      Water  Meadows,  near  SaUsbury. 

Paris.      Louvre.  The  Cottage. 

J,  The    Eainbow   (with   a   view  of 

SaUsbury).  a  sketch. 
„  „  'Weymouth  Bay.     1827. 

„  „  View  of    Hampstead   Heath  (o 

sketch). 
„  „  The  Glebe  Farm. 

CONSTANT,  Jean  Joseph  Benjamin,  was  bom 
in  Paris  in  1845,  studied  at  the  Beaux-Arts,  and 
then  entered  the  atelier  of  M.  Cabanel.  His  first 
picture  was  hung  in  the  Salon  in  1869  before  he 
was  twenty-four  years  old,  and  was  called  '  Hamlet 
et  le  Hoi.' "  Since  that  time  down  to  the  very  year 
of  his  death  he  was  hardly  ever  absent  from  the 
great  Parisian  Exhibition.  Prob.ibly  no  French 
artist  has  attracted  more  attention  tlian  M. Constant, 
or  has  had  his  work  so  minutely  studied,  and  his 
methods  more  frequently  copied  by  his  compatriots. 
He  was  for  years  the  master  of  the  modern  French 
school,  and  could  never  complain  that  his  country- 
men failed  to  appreciate  him.  Amongst  his  notable 
works  are  '  Trop  Tard  '  (1870),  'Samson  et  Delilah' 
(1871),  'Femmes  en  Riff,'  'Boucher  Maures  a 
Tanrer,'  'Coin  de  Rue,'  '  Carrefour  k  Tanger,' 
'  Prisonniers  JIarocains,'  '  Femmes  de  Harem  k 
Maroc'  all  studies  of  life  in  Morocco,  a  country  of 
322 


semi-barbarism  which  appealed  to  his  imagination ; 
'  La  Vengeance  du  Ch^nf,'  another  Oriental  subject 
(1885).  'Judith'  and  '  Justinian  '  (1886),  'Orphee' 
and  'Theodora'  (1887),  'Pope  Urban  II.  entering 
Toulouse,'  '  Beethoven,'  '  Victrix,'  and  others.  In 
addition  to  all  these  subject  pictures  he  was  an 
eminent  painter  of  portraits,  and  by  them  his  re- 
nown in  England  and  America  has  been  chiefly 
produced.  He  painted  Queen  Victoria,  Queen 
Alexandra,  the  Pope  (Leo  XIII.),  the  Due 
d'Aumale,  the  Marquis  of  Dufferin,  Lady  Helen 
Vincent,  the  Duchess  of  Marlborough,  and  M. 
Hanotaux.  Two  of  his  best  portraits,  those  of  Lord 
Savile  and  M.  de  Blowitz,  were  upon  the  walls  of 
the  Salon  in  1902  when  he  died  ;  that  of  Queen 
Alexandra  having  been  exhibited  in  the  previous 
year.  He  was  largely  influenced  in  his  technique  by 
a  careful  study  of  the  work  of  Gainsborough,  and 
his  paintings  show  evident  signs  of  an  entire 
change  of  method  after  the  works  of  the  English 
school  first  attracted  his  attention.  His  aim  was 
in  all  cases  to  produce  a  single  well-balanced 
harmony  of  light  and  colour.  Few  of  his  portraits 
received  such  an  excess  of  criticism  as  the  one 
of  Queen  Victoria  which  appeared  at  the  Royal 
Academy  in  1900.  Its  stately  but  unaffected 
grandeur  was  very  attractive,  but  the  somewhat 
over-strained  sentiment  did  not  appeal  to  English 
critics.  There  is  no  doubt  that  at  times  his 
lighting  was  too  artificial  and  almost  garish,  and 
his  colour  false,  and  these  qualities  were  discovered 
in  this  celebrated  portrait,  and  were  vehemently 
pointed  out  by  many  writers.  The  portrait  wiU, 
however,  remain  noteworthy  as  a  majestic  con- 
ception grandly  presented  on  canvas.  Constant 
was  greatly  affected  by  the  death  of  his  son  in 
1899,  and  never  quite  recovered  from  the  blow. 
In  1901  he  caught  an  acute  attack  of  influenza  in 
Scotland,  and  from  the  effect  of  this  died  in  May 
1902.  He  had  painted  many  decorative  canvases 
for  public  buildings  in  Paris,  especially  at  the 
Hotel  de  Ville  and  Opera  Comique,  and  was  at  the 
very  last  engaged  in  setting  out  a  new  and  even 
more  important  work  of  this  sort.  He  was  a 
member  of  the  Institute  of  France,  and  Commander 
of  the  Legion  of  Honour.  G.  C.  W.- 

CONSTANTIN,  Abraham,  a  Swiss  enamel 
painter,  was  born  at  Geneva  in  1785.  He  became 
a  pupil  of  Gerard,  after  whom  he  executed  many 
works  on  porcelain,  including  portraits  of  the 
King  of  Rome,  Charles  X.,  and  the  Erapt^ror  of 
Russia.  He  was  attached  to  the  manufactory  at 
Sevres,  and  died  at  Geneva  after  1851. 

CONSTANTIN,  Jean  Antoine,  a  landscape 
painter,  who  also  etched,  was  born  at  Bonneveine, 
near  Marseilles,  in  1756.  An  enamel  painter,  dis- 
cerning his  talent,  found  him  employment  in 
painting  porcelain,  an  occupation  which  he  quitted 
to  get  lessons  at  Marseilles  from  Kapeller  the  elder 
and  David  of  Marseilles.  From  that  city  an  amateur 
took  him  to  Aix,  and  arranged  for  his  going  to 
Rome,  where  he  worked  hard  for  six  years.  On  his 
return  to  Aix  he  became  the  director  of  the  School 
of  Design.  He  exhibited  at  the  Paris  Salon  from 
1817  to  1831.  Many  of  his  paintings  and  a  thousand 
drawings  and  etchings  by  him  are  in  the  Museum 
at  Aix,  where  he  died  in  1844. 

CONSTANTIN,  Joseph  Sebastien,  the  son  of 
Jean  Antoine  Constantin,  and  also  a  landscape 
painter,  was  bom  at  Aix  in  1793.  He  lost  his  sight, 
and  died  in  the  hospital  of  Bicetre  in  1864. 

CONSTANTINI,  Giovanni  Batiista,  (or  Cos- 


JOHN  CONSTABLE 


Ha  nfstii  II g I  photo] 


iWilioiial  Gallery,  London 


THE  VALLEY  FARM 


< 
H 
tn 
Z 

o 
u 

X 

o 


BENJAMIN  CONSTANT 


HER  MAJESTY  QUEEN  ALEXANDRA 


PAINTERS  AND  ENGRAVERS. 


STANTINO),  was  a  nativa  of  Italy,  who  flourished 
about  the  year  1619.  We  have  an  etching  by  him, 
representing  a  Bacchanalian  subject,  surrounded 
with  a  grape  vine,  in  the  form  of  a  border.  It  is 
executed  in  a  slight,  free  style,  somewhat  resem- 
bling that  of  Guide,  though  less  masterly,  and 
appears  to  have  been  the  work  of  a  painter. 

CONTARINI,  Cavaliere  Giovanni,  was  bom  at 
Venice  in  1549.  He  was  a  contemporary  of  Palma, 
and  studied  the  works  of  Tintoretto  and  Titian. 
His  portraits  and  altar-pieces  are  distinguished  by 
their  beautiful  colouring :  in  the  former  he  fol- 
lowed the  chaste  and  simple  style  of  Titian.  Con- 
tarini  was  a  perfect  master  of  the  sotto  in  su,  as  is 
seen  in  his  picture  of  the  '  Resurrection '  in  San 
Francesco  di  Paola  at  Venice.  He  appears  to 
have  been  much  engaged  in  painting  easel  pictures 
of  mythological  subjects,  which  he  had  learning 
enough  to  treat  with  propriety,  but  he  excelled 
especially  in  painting  ceilings.  He  went  to  Ger- 
many and  passed  some  years  at  the  court  of  the 
Emperor  Rudolph  II.,  by  whom  he  was  knighted. 
He  died  in  1605. 

Amongst  his  works,  which  are  principally  to  be 
met  with  in  the  churches  and  palaces  of  Venice, 
may  be  mentioned : 

Berlin.       Museum.       St.  Sebastian. 

Florence.    Gallery.        His  own  Portrait. 

Milan.         £rera.  St.  Jerome. 

Paris.  Lauvrt.         The  Virgin  and  the  Infant  Jesas 

enthroned,  with  St.  Mark,  St. 
Sebastian,  and  the  Doge  Marino 
Grimani  kneeling ;  formerly  in 
the  Ducal  palace  at  Venice. 
His  test  work. 

Venice.  CW«a  d«;/a  J  ^^^  Crucifixion. 

Vienna.   Gallery.  The  Baptism  of  Christ. 

CONTE,  Jacopo  del.    See  Del  Conte. 

C0NT6,  Nicolas  Jacqdes,  a  French  mechanician 
and  portrait  painter,  was  born  at  St.  C^nery  in 
Normandy  in  1755.  He  was  the  inventor  of  a 
machine  for  engraving  and  of  the  crayons  which 
bear  his  name.     He  died  in  1805. 

CONTI,  Bernardino  de'.     See  De'  Conti. 

CONTI,  Cesare  and  Vinoenzio,  two  brothers, 
were  natives  of  Ancona,  but  went  to  Rome  during 
the  Pontificate  of  Gregory  XIII.,  by  whom  they 
were  employed,  as  well  as  by  his  successors,  Sixtus 
v.,  Clement  VIII.,  and  Paul  V.  Cesare  was  es- 
teemed for  his  grotesque  ornaments,  and  Viiicenzio 
painted  the  figures.  The  former  died  at  Macerata 
about  1615  ;  the  latter  went  to  the  court  of  Savoy, 
and  died  there  in  1610.  Some  of  their  works  are 
in  Santa  Maria  in  Trastevere.  In  San  Spirito  in 
Sassia  is  the  history  of  San  Giacomo  del  Zucchi ; 
in  Santa  Cecilia, '  St.  Agnes,'  and  the  '  Martyrdom  of 
St.  Urban.' 

CONTI,  Francesco,  an  Italian  historical  painter, 
was  born  at  Florence  in  1681.  He  was  a  pupil  of 
C.  Maratti,  whose  style  he  imitated.  He  died  in 
1760.     His  own  portrait  by  himself  is  in  the  UfiBzi. 

CONTRERAS,  Antonio  de,  a  Spanish  painter, 
was  born  at  Cordova  in  1587.  He  was  a  pupil  of 
Pablo  de  Cespedes,  after  whose  death  he  went  to 
Granada,  and  subsequently  to  Bujalance,  where  he 
resided  until  his  death,  which  took  place  in  1664. 
He  painted  many  pictures  for  the  Franciscan  con- 
vent and  other  churches  of  Bujalance,  and  also 
distinguished  himself  by  his  portraits. 

COOK,  Richard,  was  born  in  London  in  1784, 
and  entered  the  schools  of  the  Royal  Academy 
in  1800.     He  was  a  constant  contributor  to  the 


exhibitions  from  1808  to  1822,  during  which  time 
he  painted  several  landscapes  not  destitute  of  poetic 
beauty,  scenes  from  '  The  Lady  of  the  Lake,'  dis- 
playing taste  and  talent,  and  in  1817  (having  been 
elected  an  Associate  in  the  preceding  year)  a  more 
ambitious  work,  entitled  '  Ceres,  disconsolate  for 
the  loss  of  Proserpine,  rejects  the  solicitations  of 
Iris,  sent  to  her  by  Jupiter.'  In  1822  he  attained 
the  rank  of  Royal  Academician,  and  almost  from 
that  time  forward,  and  certainly  for  many  years 
preceding  his  death,  he  seems  to  have  relinquished 
his  profession,  and  ceased  to  contribute  to  the 
annual  exhibitions  of  the  Academy,  his  private 
fortune  enabling  him  to  live  independently  of 
his  art.  He  died  in  London  in  1857.  He  illus- 
trated editions  of  'The  Lady  of  the  Lake'  and 
'  Gertrude  of  Wyoming.' 

COOK,  Robert,  an  artist  who  lived  at  the  end 
of  the  15tli  and  the  beginning  of  the  16th  century, 
is  said  to  have  painted  the  portraits  of  Henry  VII., 
Henry  VIII.,  Queen  Katharine,  the  Duke  of  Suffolk, 
and  the  family  of  Sir  Robert  Wingtield. 

COOK,  Samdel,  a  water-colour  painter,  was  bom 
in  1806  at  Camelford  in  Cornwall.  At  the  early 
age  of  nine  he  was  apprenticed  to  a  firm  of  woollen 
manufacturers  in  that  place,  but  during  the  inter- 
vals of  his  duties  he  would  amuse  himself  with 
making  drawings  in  chalk  on  the  floor  of  the  fac- 
tory, to  the  annoyance  of  his  employers,  one  of 
whom  declared  that  "he  would  never  be  fit  for 
anything  but  a  limner ;  "  and  a  limner  he  ulti- 
mately became.  On  the  expiration  of  his  appren- 
ticeship he  went  to  Plymouth,  where  he  set  up  as  a 
painter  and  glazier.  Every  hour  he  could  snatch 
from  business,  however,  was  devoted  to  sketching 
from  nature,  anjl  though  these  early  products  of 
his  pencil  displayed  timidity  in  respect  of  colour, 
they  nevertheless  exhibited  great  truth ;  and  with 
increasing  knowledge  and  experience  came  in- 
creased confidence  and  power.  In  1830  he  sent 
some  drawings  to  the  New  Society  (now  the  Insti- 
tute) of  Painters  in  Water-Colours,  which  obtained 
him  admission  into  that  body ;  to  whose  annual 
exhibition  he  became  a  regular  contributor,  chiefly 
of  coast  scenes,  though  sometimes  of  inland  views, 
till  the  day  of  his  death,  which  occurred  in  1859. 
A  view  of  '  Stonehouse,  Plymouth,'  by  him  is  in 
the  South  Kensington  Museum. 

COOK,  Thomas,  who  was  bora  about  the  year 
1744,  was  a  pupil  of  Ravenet.  He  engraved  many 
portraits,  as  well  as  some  of  the  plates  for  Bell's 
'  Shakespeare  '  and  '  British  Poets.'  He  was  also 
employed  by  Alderman  Boydell,  and  engraved  some 
of  the  works  of  Hogarth.    He  died  in  1818,  aged  74. 

COOKE,  Edward  William,  the  son  of  George 
Cooke,  the  engraver,  was  born  in  London  in  1811, 
and  was  brought  up  with  a  view  of  following  his 
father's  profession.  He  early  publislied  a  set  of 
sixty-five  etched  plates  of  'Shipping  and  Craft, 
views  on  the  Thames.  But  in  1832  he  determined 
to  adopt  oil-painting  in  place  of  engraving  ;  and, 
three  years  later,  his  first  works,  '  Honfleur  Fish- 
ing Boats'  and  a  'Hay-Barge,  off  Greenwich,' 
appeared  at  the  Royal  Academy.  Since  then,  with 
three  exceptions,  1839,  1846,  and  1874,  there  was 
not  a  single  exhibition  up  to  that  of  1879,  which 
did  not  contain  one  or  more  of  his  works.  To 
forty-one  exhibitions  he  contributed  one  hundred 
and  thirty  works,  all  well  thought  out  and  carefully 
executed.  In  1851  he  was  elected  an  Associate  of 
the  Royal  Academy,  and  in  1864  he  was  made  an 
Academician.     He  also  contributed   many  works 

323 


A  BIOGRAPHICAL  DICTIONARY  OF 


to  the  British  Institution,  and  frequently  painted 
in  water-colour:  the  South  Kensington  Museum 
has  a  collection  of  his  works  in  this  medium.  He 
wRs  a  fellow  of  the  Royal,  the  Geographical,  the 
Geological,  and  the  Linnjean  Societies.  He  died  at 
Groombridge,  near  Tunbridge  Wells,  in  1880. 

His  paintings  generally  represent  views  on  the 
Thames,  the  Medway,  and  the  English  coast ;  but 
they  also  include  scenes  from  Holland  and  France, 
and  even  so  far  afield  as  Morocco  and  the  lagoons 
of  Venice.     We  need  mention  but  few : 
Dutch  Boats  in  a  calm.    1S44.    In  the  National  Gallery. 
The  Boat-House.     In  the  National  Gallery. 
Lobster  Pots.     1S36.  -, 

Brighton  Sands.     183S.  j»c^*i 

Mending  the  Bait  Xets,  Shanklin.    1836.  \  ,-      ■     , 
Portsmouth  Harbour— The  Hulks.  I  ^^'^^"'9^'"^ 

Portsmouth  Harbour — The  Victory.       •' 
Dutch  Boats  on  the  Y.     1S37. 
Dutch  Enats  on  the  DoUart  Zee. 
A  Calm  Day  in  the  Scheldt. 
A  Bit  of  English  Coast. 
Catalan  Bay,  Gibraltar.     1863. 
The  Goodwin  Light-Ship. 
A  Dutch  Galliot  agroimd. 
H.  M.  S.  Terror  abandoned.     1?60. 
Schevening   Pinks  running   to  anchor  off  Yarmouth. 

1S64. 
COOKE,  George,  a  line-engraver,  who  was  bom 
in  London  in  1781,  was  apprenticed  to  James  Basire, 
and  early  in  life  attained  celebrity.     He  died    at 
Barnes  in  183-1.     He  was  brother  to  William  Ber- 
nard Cooke,  and  father  of  Edward  W.  Cooke,  R.A. 
The  following  are  his  principal  works  : 
Illustrations  to  the  '  Beauties  of  England  and  ■^Tales.' 
„  Pinkerton's  '  Collection  of  Voyages  and 

Travels.' 
„  '  The  Thames.'     1811. 

„  '  The  Southern  Coast  of  England.'   1814- 

1826. 
„  Surtees's  '  History  of  Durham.' 

„  Clutterbuck's  '  Hertfordshire.' 

„  HakeweU's  '  Italy.' 

„  D'Oyly  and  Mant's  '  Bible.' 

„  '  The  Botanical  Cabinet.'     1817-1833. 

„  '  London  and  its  Vicinity.'     1826-1828. 

Gledhouse,  Yorkshire  ;  after  Turner. 
Eott«rdam;  after  Sir  A.  W.  Callcott.     1825. 
Old  London  Bridge ;  after  E.  JV.  Cooke. 
New  London  Bridge  ;  after  the  same. 

COOKE,  Henry,  a  portrait  painter  and  copyist, 
flourished  in  1640,  as  appears  by  several  portraits 
painted  by  him  in  that  year  for  the  Company  of 
Ironmongers,  and  now  in  their  Hall.  They  are 
probably  copies  of  older  pictures,  as  with  the 
exception  of  Sir  James  Campbell,  who  sat  to  the 
artist,  all  the  persons  represented  were  dead  long 
before  the  time  when  these  were  executed. 

COOKE,  Henrt,  son  of  Henry  Cooke,  who  was 
employed  by  the  Ironmongers'  Company,  was  bom 
in  16-12.  He  went  to  Italy  and  studied  under  Sal- 
vator  Rosa.  He  painted  the  choir  of  New  College 
Chapel,  Oxford,  the  staircase  at  Ranelagh  House, 
and  Lord  Carlisle's  House  in  Sobo  Square.  He  died 
in  1700.  It  is  said  that  he  committed  a  murder  and 
fled  from  England :  and  that  after  his  return,  he 
was  employed  by  King  William  to  "repair"  the 
Cartoons  of  Raphael.  He  finished  the  portrait  of 
Charles  II.  at  Chelsea  Hospital ;  and  also  tried 
portrait  painting,  but  gave  it  up. 

COOKE,  William  Bernard,  a  line-engraver, 
and  a  pupil  of  Angus,  was  bom  in  1778.  He 
was  the  elder  brother  of  George  Cooke.  He  suc- 
ceeded best  in  marine  subjects,  but  never  attained 
any  great  eminence.  He  published  conjointly 
with  his  brother  '  The  Thames  '  and  '  The  Southern 

324 


Coast    of    England.'      His     death    occurred    in 
1855. 

COOKE,  William  John,  was  born  in  Dublin  in 
1797,  but  his  parents  left  Ireland  when  he  was  a 
year  old.  He  was  a  pupil  of  his  uncle,  George 
Cooke,  and  in  1826  received  from  the  Society  of 
Arts  a  gold  medal  for  improvements  in  engraving 
upon  steel.  About  1840  he  left  England  and  went 
to  reside  at  Darmstadt,  where  he  died  in  1865. 
His  best  plates  are  those  after  Turner  of  '  Notting- 
ham '  and  '  Plymouth '  in  the  '  Views  in  England 
and  Wales,'  and  '  Newark  Castle '  in  Scott's  Poetical 
Works. 

COOL,  Jan  Daemen,  of  Rotterdam,  is  a  painter 
of  whom  but  little  is  known.  In  1614,  he  was  ad- 
mitted into  the  Guild  of  St.  Luke  at  Delft ;  but  by 
1618  he  had  returned  to  Rotterdam,  and  in  1623  he 
married  Lysbeth,  the  widow  of  the  painter  Lowys 
Percelles.  In  1652  the  governors  of  the  "  Old 
Men's  Home"  at  Rotterdam  agreed  to  receive  him 
into  the  institution  on  condition  of  his  paying  a 
sum  of  1225  florins  and  painting  a  picture  repre- 
senting them  assembled  together.  Cool  died  there 
in  1660,  and  was  buried  in  the  church  of  the  insti- 
tution. The  work,  which  he  executed  in  accord- 
ance with  the  agreement,  is  the  only  one  known  to 
be  by  him ;  and  it  is  only  lately  that  it  has  been 
given  to  its  true  author.  Lamme  ascribed  it  to  Aart 
Mytens  ;  Biirger  gave  it  to  Jacob  Backer  ;  and  it  is 
attributed  to  Daniel  M\-tens,  the  elder,  by  the 
catalogue,  of  1867,  of  the  Rotterdam  Museum, 
where  it  has  been  since  its  removal  from  the  Old 
Men's  Home  in  1849.  It  is  dated  1653,  and  repre- 
sents '  Five  Governors,  clothed  in  black,  ranged 
round  a  table.'  (See  Obreen's  'Archief  voor 
Nederlandsche  Kunstgeschiedenis,'  vol.  I.) 

COOL,  Pieter,  a  Flemish  engraver,  flourished 
about  the  year  1690.  His  name  is  afiSxed  to  a 
middling-sized  upright  plate,  representing  Christ 
bearing  the  Cross,  with  St.  Veronica  and  other 
figures,  after  Martin  De  Vos.  It  is  executed  entirely 
with  the  graver,  in  a  coarse,  stifE  style. 

COOL,  Thomas  Simon,  a  Dutch  historical  and 
genre  painter,  was  born  at  the  Hague  in  1831.  He 
studied  at  the  Hague  Academy  under  J.  E.  J.  van 
den  Berg,  and  first  distinguished  himself  by  his 
'Atala,'  exhibited  in  1853.  He  resided  in  Paris 
from  1857  to  1860,  and  in  Antwerp  from  1861  to 
1865.     He  died  at  Dordrecht  in  1870. 

COOPER,  Abraham,  was  born  in  London  in 
1787.  His  father  was  a  tobacconist,  who  afterwards 
kept  an  inn  at  Holloway.  but  being  unfortimate  in 
business,  his  son  was  early  left  to  his  own  resources. 
For  some  time  he  was  employed  in  the  mimic 
battles  and  pageants  at  Astley's  theatre,  then  under 
the  management  of  his  uncle  Davis.  He  employed 
much  of  his  leisure  time  in  making  sketches  of 
dogs  and  horses,  and  in  1809,  without  any  instruc- 
tion, succeeded  in  painting  a  favourite  horse  be- 
longing to  Sir  Henry  Meux  so  successfully  that 
that  gentleman  purchased  it,  and  was  ever  after- 
wards a  liberal  patron  of  the  artist.  He  soon  met 
with  further  encouragement  as  a  painter  of  horses, 
from  the  Dukes  of  Grafton,  Bedford,  and  Marl- 
borough, and  others  of  the  sporting  nobility  and 
gentry,  and  many  of  his  works  were  engraved  in 
the  '  Sporting  Magazine.'  In  1816  he  was  awarded 
a  premium  of  150  guineas  by  the  British  Institution 
(where  he  first  exhibited  in  1812)  for  a  picture  of 
the  '  Battle  of  Waterloo.'  In  1817  he  was  elected 
an  Associate  of  the  Royal  Academy ;  in  1819  he 
exhibited  a  fine  picture  of  '  Marston  Moor ' ;  and  in 


PAINTERS  AND  ENGRAVERS. 


1820  became  an  Academician.  From  that  time  he 
was  a  constant  exhibitor  of  pictures,  generally  of 
email  dimensions,  representing  groups  of  horses  and 
animals,  field-sports,  battle-scenes  in  the  olden  time, 
<S:c. ;  a  grey  horse  being  a  very  favourite  feature  in 
them.  Latterly  his  works  began  to  betray  too 
manifestly  an  amount  of  mannerism  and  weakness 
■which  could  not  but  detract  from  the  reputation 
acquired  by  him  in  his  earlier  days.  In  1862, 
following  the  example  of  Sir  Robert  Smirke,  the 
architect,  he  resigned  the  rank  of  Royal  Academi- 
cian. He  died  at  Greenwich  on  Christmas  Eve  in 
1868.  As  might  have  been  expected,  there  was  but 
little  variation  in  the  types  of  his  subjects  and  the 
character  of  their  treatment.  The  following  are 
some  of  his  best  works : 

A  Donkey  and  a  Spaniel.    1818.  )    At  South 

A  Grey  Horse  at  a  Stable  Door.     1818.  J  Kensi7igton. 

The  Pride  of  the  Desert. 

The  Arab  Sheik. 

The  Dead  Trooper. 

Hawking  in  the  Olden  Times. 

Battle  of  Bosworth  Field. 

Battle  of  Naseby. 

Bichard  I.  and  Saladin  at  the  Battle  of  AscaloD. 

Bothwell's  seizure  of  Mary,  Queen  of  Scots. 

COOPER,  Alexander,  who  flourished  about  the 
middle  of  the  17th  century,  was  the  elder  brother 
of  Samuel  Cooper,  and  was  a  scholar  of  his  uncle 
Hoskine.  Although  greatly  inferior  to  his  brother, 
he  painted  portraits,  both  in  oil  and  in  miniature, 
with  some  reputation.  He  also  succeeded  in  paint- 
ing landscapes  in  water-colours.  Not  meeting  with 
the  encouragement  he  expected,  he  went  to  Flan- 
ders, where  he  passed  some  time,  and  afterwards 
visited  Sweden,  where  he  was  made  painter  to 
Queen  Christina. 

COOPER,  Edward,  a  portrait  painter,  likewise 
engraved  after  Albani  and  Kneller.  A  portrait 
painted  and  engraved  by  him  bears  date  1779,  but 
the  date  of  his  death  is  not  known. 

COOPER,  Richard,  an  engraver  of  portraits,  is 
known  chiefly  as  the  master  of  Sir  Robert  Strange, 
who  was  apprenticed  to  him  for  six  years.  He 
was  born  in  Yorkshire  about  1705,  but  went  early 
in  life  to  Edinburgh,  where  he  died  in  1764. 

COOPER,  Richard,  an  English  line-engraver,  was 
Dorn  in  London  about  1730,  and  died  therein  1820. 
He  studied  the  art  of  engraving  in  Paris  under  Le 
Bas.  His  plates  are  chiefly  portraits,  of  which  the 
following  are  the  principal : 

The  Children  of  Charles  I.,  with  a  Dog;    after  Van 

Dyck.    1762. 
Henrietta  Maria,  Queen  of  Charles  I. 
WiUiam  III.  and  Queen  Mary. 
Frederick,  Prince  of  Wales,  and  his  sisters. 
Francis  Bacon,  Viscount  St.  Alban's. 
William  Shakespeare  ;  from  the  Chandos  picture  in  the 

National  Portrait  Gallery. 
Thomas  Wentworth,  Earl  of  Strafford. 
George,  Lord  Jeffreys,   Chief   Justice   of  the   King's 

Bench  and  Lord  High  Chancellor. 
Sir  John  Napier,  inventor  of  Logarithms. 
Allan  Ramsay,  Scotch  poet. 
Andrew  Allen,  painter. 
The  ■  Chapeau  de  Paille  ; '  after  Rtiiens. 
Rembrandt's  Mistress.     1777. 
The  Virgin  and  Infant ;  after  Corregyio.     1763. 
The  Maries  and  the  Dead  Christ ;  after  A.  Carraeci. 

COOPER,  Richard,  said  to  have  been  a  native 
of  London,  the  son  of  the  engraver  of  the  same 
name,  was  a  landscape  painter  of  some  merit.  At 
the  end  of  the  18th  century  he  went  to  Italy,  where 
he  studied  the  works  of  the  old  masters.     On  his 


return  he  lived  for  some  time  in  Edinburgh,  but 
subsequently  settled  in  London.  In  1800,  and  the 
following  year,  he  exhibited  at  the  Academy  '  The 
Ruins  of  Vespasian's  Amphitheatre,  in  Rome,' 
'  Landscape  with  Banditti,'  and  other  views.  He 
was  at  this  time  drawing-master  at  Eton  College, 
and  tutor  to  the  Princess  Charlotte.  He  died  about 
1810.  Two  water-colour  drawings  by  him  are  in 
the  South  Kensington  Museum. 

COOPER,  Robert,  of  whom  little  is  known, 
engraved  several  of  the  heads  in  Lodge's  Portraits 
and  some  of  the  portrait  illustrations  to  Scott's 
Novels.  He  exhibited  in  1821,  and  was  living 
in  1836. 

COOPER,  Samuel,  the  eminent  miniature  pamter, 
was  born  in  London  in  1609,  and,  with  his  brother 
Alexander  Cooper,  was  instructed  in  the  art  by  his 
uncle  Hoskins,  whom  he  soon  surpassed.  He  was 
the  first  artist  of  his  country  who  gave  a  strength 
and  freedom  to  miniature,  which  approached  to 
the  vigour  of  oil-painting.  The  purity  of  his  tints, 
the  beauty  of  his  carnations,  and  his  loose  and 
flowing  manner  of  painting  the  hair,  render  the 
heads  of  his  portrait  models  worthy  of  imitation ; 
but  to  the  head  his  merit  is  almost  entirely  confined. 
When  he  ventured  to  express  more  of  the  figure, 
his  drawing  is  defective,  and  his  execution  unde- 
termined. According  to  Lord  Orford,  Cooper 
visited  the  court  of  France,  where  he  painted 
several  pictures,  for  which  his  widow  received  a 
pension  during  her  life.  The  works  of  Cooper 
were  deservedly  admired  in  his  lifetime,  and  they 
are  still  placed  with  distinction  in  the  cabinets  of  col- 
lectors. He  died  in  London  in  1672,  and  was  buried 
in  Old  St.  Pancras  Church.  Cooper  painted  some 
of  the  most  illustrious  men  of  his  time ;  particu- 
larly Oliver  Cromwell  and  John  Milton,  portraits  of 
whom  are  now  in  the  possession  of  the  Duke  of 
Buccleuch.  He  also  painted  Charles  II.,  his  Queen, 
and  many  of  the  celebrities  of  their  court.  It  was 
for  the  court  of  England  that  Cooper  painted  the 
pictures  for  which  his  widow  was  promised  a  pen- 
sion, which  was  never  paid.  This  widow  was  sister 
to  the  mother  of  Alexander  Pope. 

COOPER,  Thomas  Sidney,  R.A.,  was  born  at 
Canterbury  on  September  26,  1803.  When  a 
mere  child  he  displayed  a  marked  interest  in  art, 
but  his  father's  means  being  insufficient  to  provide 
him  with  the  necessary  training,  he  became 
assistant,  at  the  age  of  twelve,  to  a  coach-painter, 
an  occupation  which  he  later  combined  with  scene- 
painting,  pursuing  both  for  some  eight  years,  while 
he  devoted  all  his  scanty  leisure  to  drawing  and 
painting  from  nature.  In  1823  he  went  to  London, 
where,  after  he  had  worked  for  a  time  at  the  British 
Museum,  he  became  a  student  at  the  Royal 
Academy,  returning  later  to  Canterbury  and 
supporting  himself  there  by  giving  lessons  and  by 
the  sale  of  his  works.  In  1827  he  removed  to 
Brussels,  where  he  married,  and  remained  till  1831, 
when  he  came  to  settle  in  London.  His  first 
appearance  as  an  exhibitor  at  the  Royal  Academy 
was  in  1833,  and  he  continued  to  contribute 
annually,  being  represented  for  the  last  time  by 
four  canvases  in  1902  after  his  death,  which 
occurred  at  Canterbury  on  February  7th  of  that 
year.  He  was  elected  an  Associate  of  the  Academy 
in  1845,  and  an  Academician  twenty-two  years 
later.  He  made  his  chief  successes  in  cattle- 
pieces,  and  so  popular  were  these  that  he  paid  the 
penalty  of  becoming  an  especial  prey  of  the 
picture-forgers,  and  had  in  later  years  to  repudiate 

325 


A  BIOGRAPHICAL  DICTIONARY  OF 


a  large  number  of  examples  of  their  handiwork 
submitted  to  his  judgment.  Inhis  days  of  prosperity 
he  settled  near  his  native  town,  to  which  he  became 
a  constant  benefactor,  presenting  it  in  1882  with 
the  '  Sidney  Cooper  Art  Gallery,'  erected  on  the 
site  of  the  house  in  which  he  was  born.  '  A 
Summer's  Noon  '  (1836), '  A  Group  in  the  Meadows' 
(1845),  'The  Shepherd's  Sabbath'  (1866),  'The 
Monarch  of  the  Meadows'  (1873),  and  'Separated, 
but  not  Divorced'  (1874),  are  a  few  of  his  most 
important  pictures.  M.  B. 

COOPSE,  PiETEB,  (or  Coops,)  a  Dutch  painter  of 
marine  subjects  and  landscapes,  in  the  manner  of 
Bakhuisen  and  Van  de  Velde,  flourished  about  the 
year  1672.  His  pictures  are  generally  of  a  small 
size,  well  composed,  full  of  subject,  and  vigorously 
painted.  There  is  a  picture  by  him  in  the  Gallery 
at  Munich,  which  is  attributed  to  Bakhuisen  in  the 
catalogue,  though  the  name  may  be  discovered  on 
it :  in  England  the  dealers  are  more  cautious  ;  they 
remove  it.  Ploos  van  Amstel  and  others  have 
given  facsimiles  of  some  of  his  drawings  ;  but  it 
is  only  recently  that  his  own  countrymen  have 
discovered  his  merit  as  a  painter  in  oil. 
COORNHAERT.  See  Cderenhekt. 
COORTE,A.  S.,  who  flourished  in  Holland  about 
1700,  excelled  as  a  painter  of  fruit  and  flowers. 
His  works  are  rarely  to  be  met  with. 

COOSEMANS,  Alart,  a  painter  of  flowers,  fruit, 
and  inanimate  subjects,  flourished  in  the  Nether- 
lands about  1630.  Fruit  subjects  by  him  are  in 
the  Augsburg  Gallery  and  the  Belvedere  at  Vienna. 
In  the  Madrid  Gallery  there  is  a  fruit-piece  attri- 
buted to  a  J.  D.  CoosEMAN,  who  is  said  to  have 
flourished  in  the'Netherlands  in  the  17th  century: 
and  in  the  Bordeaux  Museum,  a  fruit-piece  ascribed 

to  a  N.  COOSMAN. 

COOTWYCK.     See  Kootwtck:. 

COPE,  Charles  West,  R.A.,  the  son  of  a 
painter  in  water-colours,  was  born  at  Leeds  in 
1811,  and  educated  at  the  Grammar  School  of  that 
town.  He  went  to  London  in  1826,  and  after 
attending  an  art  school  in  Bloomsbury  under  the 
superintendence  of  Mr.  Sass,  became  a  student  at 
the  Royal  Academy  in  1828.  Leaving  this  in  1831 
he  went  to  Paris  for  six  months,  most  of  which 
was  spent  in  copjHng  pictures  in  the  Louvre.  Two 
years  later,  in  1833,  his  first  exhibited  picture, 
'  The  Golden  Age,'  was  accepted  at  the  Academy. 
Soon  afterwards  he  went  to  Italy,  and,  dividing 
his  time  between  Rome,  Naples,  Florence,  and 
Venice,  remained  there  two  years,  studying  the 
works  of  the  old  masters,  and  producing  pictures 
of  his  own,  one  of  which,  '  Mother  and  Child,'  was 
exhibited  at  the  British  Institution  in  1836,  while 
others  appeared  at  the  Academy  the  same  year. 
Taking  part  in  the  competition  for  the  decoration 
of  the  Houses  of  Parliament,  he  won,  in  1843,  a 
prize  of  £300  for  a  cartoon  of '  Trial  by  Jury,'  and 
in  the  next  year  obtained  a  commission  to  paint  a 
fresco  of  '  Edward  III.  investing  the  Black  Prince 
with  the  Order  of  the  Garter,'  which  was  followed 
by  a  second  of  '  Prince  Henry  acknowledging  the 
authority  of  Judge  Gascoigne '  and  '  Griselda's  first 
trial  of  Patience.'  He  was  elected  an  Associate  of 
the  Royal  Academy  in  1843,  and  an  Academician 
in  1848.  In  1883  he  retired,  and  died  at  Bourne- 
mouth on  August  21,  1890.  His  work  was 
essentially  academical,  and  he  confined  himself  to 
those  sacred,  historical,  literary  or  domestic 
subjects  which  were  the  fashion  of  his  early  days. 
Of  the  first  are  '  Hagar  and  Ishmael '  (1836),  and 

326 


'  The  disciples  at  Emmaus '  (1868) ;  of  the  second, 
'  Cardinal  Wolsey  arriving  at  Leicester  Abbey ' 
(1848),  and  'The  Pilgrim  Fathers'  (1857) ;  of  the 
third,  '  King  Lear '  (1850),  and  •  Othello '  (1868)  ;  of 
the  fourth  and  most  popular,  'Beneficence'  (1840), 
and  'Baby's  turn'  (1854).  The  former,  with 
several  other  of  his  pictures,  is  in  the  Victoria  and 
Albert  Museum.  M.  B. 

COPIA,  Jacques  Louis,  a  French  engraver,  was 
bom  at  Landau  in  1764  He  went  to  Paris,  and 
among  other  plates  executed  a  charming  little  por- 
trait of  Queen  Marie  Antoinette,  after  Piauger, 
which  is  very  rare.  He  also  engraved  a  head  of 
Marat,  terribly  startling  in  its  ghastliness,  from  a 
drawing  made  by  David  immediately  after  his 
assassination.  But  Copia  is  chiefly  identified  with 
Prud'hon,  the  voluptuous  genius  of  whose  works  no 
one  has  more  fully  comprehended.  It  must,  how- 
ever, be  admitted  that,  apart  from  the  great  painter, 
Copia  would  have  remained  hidden  in  the  crowd. 
His  style  was  neither  original  nor  brilliant,  and  his 
rare  qualities  of  modelling  and  softness  of  execu- 
tion required  works  suitable  for  their  display.  He 
died  in  Paris  in  1799,  unfortunately  too  early  to  be 
able  to  engrave  the  greatest  works  of  his  friend. 
But  among  other  pupils  he  left  one,  Roger,  who 
caught  his  manner,  and  is  thought  by  many  to 
have  surpassed  his  master  in  the  interpretation  of 
the  spirit  of  Prud'hon. 

The  following  are  the  ivorks  of  Prud'hon  which 
have  been  engraved  by  Copia : 

The  French  ConBtitution. 

Equality,  and  Law ;  two  email  bas-reliefs  from  the  pre- 
ceding composition. 

Liberty. 

The  Revenge  of  Ceres. 

Love  brought  to  reason. 

Love  laughing  at  the  tears  which  he  has  caased  to 
flow  ;  a  companion  to  the  preceding. 

En  Jouir  ;  an  illustration  to  Gentil-Bemard's  '  Art 
d' Aimer,'  Didot's  edition,  1797. 

The  First  Kiss  of  Love  ;  and  four  other  iUustrations  to 
Boasseau's  'Nouvelle  H^loise,'  Bossange's  edition, 
1808. 

E.  B.  G. 

COPLEY,  JoHK  Singleton,  was  born  of  English 
and  Irish  parentage  at  Boston  in  Massachusetts,  in 
1737.  He  was  most  probably  taught  the  rudiments 
of  his  art  by  bis  step-father,  Peter  Pelham,  a  por- 
trait painter  and  mezzotint  engraver,  whom  Mrs. 
Copley  had  married  after  her  first  husband's  death. 
In  1753,  when  he  was  only  sixteen  years  of  age,  he 
painted  and  also  engraved  a  portrait  of  the  Rev. 
William  Welsteed  of  Boston.  His  success  soon 
became  assured,  and  he  received  commissions  to 
execute  portraits  of  many  distinguished  persons  of 
the  day.  About  1774  he  painted  the  '  Boy  with  a 
Squirrel '  (a  portrait  of  his  half-brother,  Henry 
Pelham),  which  he  sent  to  England,  and  which  was 
exhibited  anonymouslj'  at  the  Royal  Academy.  In 
consequence  of  the  favour  with  which  it  was  re- 
ceived Copley  was  advised  to  come  to  England, 
and  he  quitted  America  in  the  early  part  of  1774, 
never  to  return.  From  England  he  crossed  to  the 
continent  and  studied  assiduously — particularly  at 
Parma  and  at  Rome — and  soon  after  his  return  to 
London  was  elected  an  Associate  of  the  Royal, 
Academy  in  1776,  and  an  Academician  in  1779. 
Whilst  still  in  Boston  (in  1767)  he  had  been  elected 
a  Fellow  of  the  Society  of  Artiste  in  Great  Britain. 
He  painted  several  very  interesting  pictures  relating 
to  events  in  English  History,  but  those  which  ho 
exhibited  at  the  Royal  Academy  were  chiefly  per- 


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PAINTERS  AND  ENGRAVERS. 


traits.  He  was  a  great  painter  among  the  English 
artists  of  his  day,  and  is  not  to  be  judged  by  the 
present  standard  ;  being,  in  a  manner,  self-taught, 
he  achieved  much  more  than  many  who  had 
received  academical  instruction.  He  lived,  from 
the  time  he  settled  in  England,  at  a  house  in 
George  Street,  Hanover  Square,  where  he  died  in 
1815  and  where  his  son,  Lord  Lyndhuret,  also  lived 
and  died  in  1864.  Copley  was  buried  in  Croydon 
church.  The  following  are  some  of  his  principal 
works  :  but  many  important  portraits  and  sketches 
including  his  last  portrait  of  himself,  were  destroyed 
by  the  great  fire  at  Boston  in  1872 


The  Death  of  Lord  Chatham  (painted  in  1779-80  •  in 
the  National  Gallery,  where  are  also  monochrome  studies 
for  the  picture). 

The  Death  of  Major  Peirson  (in  the  National  Gallery). 

The  Siege   and   Relief  of   Gibraltar  (at  Guildhall  ■  a 

study  for  this  picture  is  in  the  National  Gallery  ■  and 

various  sketches  for  it  are  in  the  South   Kensington 

Museum).  ^ 

The  Princesses  Mary,  Sophia,  and  AmeUa,  daughters  of 

George  III.  (at  Buckingham  Palace). 
Samuel  and  EH.     {Destroyed  by  fire  at  Mr.  Graves's  in 

Pall  Mall,  in  1867.) 
Charles  I.  ordering  the  arrest  of  Five  Members  of  the 

House  of  Commons. 
The  Five  Impeached  Members  brought  back  in  triumph 

to  Westminster. 
The  Speaker  thanking  the  Sheriffs  for  protecting  the 

impeached  members. 
The  Dukes  of  Suffolk  and  Northumberland  offering  to 
Lady  Jane  Grey  the  Crown  of  England  (exhibited  at 
the  Royal  Academy  in  1808 ;  now  in  the  possession  of 
Mr.  Amory  of  Boston). 
Kesurrection  of  our  Lord  (exhibited  at  the  Royal  Academy 

in  1812 :  his  last  exhibited  work). 
The  Battle  of  the  Boyne. 

The  Assassination  of  the  Duke  of  Buckingham. 
Charles  I.  signing  the  death-warrant  of    the  Earl  of 

Strafford. 
The  King's  Escape  from  Hampton  Court. 
The  House  of  Commons  visiting  the  Army  at  Hounslow. 
A  Conversation.     1776. 
The  Copley  Family  (in  the  possession  of  Mr.  Amory  of 

Boston). 
A  Boy  attacked  by  a  Shark.     1778. 
Portrait  of  Lord  Heathfield  (at  Guildhall:  a  study  «3  t» 

the  National  Portrait  Gallery). 
Portrait  of    the   Earl   of  Mansfield    (in  the  National 
Portrait  Gallery).     1783. 

A  '  Sketch  of  the  Life  and  a  List  of  some  of  the 
Works  of  John  Singleton  Copley,'  by  A.  T.  Perkins, 
was  privately  printed  at  Boston  in  1873. 

COPPA,  Antonio.     See  Giarola. 

COPPA,  Stefano,  was  a  native  of  Italy,  and 
flourished  at  Rome  about  the  year  1776.  In  con- 
junction with  Giuseppe  Perini,  he  executed  the 
plates  from  the  antique  statues  in  the  Clementine 
Gallery.  He  also  engraved  a  print  of  the  Ascen- 
sion, after  Giovanni  Lanfranco. 

COPPENS,  Adgdstincs,  a  Flemish  landscape 
painter  and  engraver,  was  a  native  of  Brussels, 
where  he  was  received  into  the  Guild  of  St.  Luke 
in  1698.  He  engraved  some  plates  representing 
views  of  ruins,  and  architecture,  which  are  executed 
in  a  neat,  finished  style. 

COPPI,  GiACOMO,  called  Del  Meolio,  a  Florentine 
historical  painter,  was  born  at  Peretola  in  1523. 
He  studied  under  Vasari,  and  worked  with  him  at 
Florence,  where  he  died  in  1591.  His  own  portrait 
by  himself  is  in  the  Uffizi. 

COPPIN.     See  Dele, 

COPPO  Di  MARCOVALDO.     See  Mabcovaldo. 

COQUERET,  Pierre  Charles,  a  French  en- 
graver, was  born  in  Paris  in  1761,  but  the  date 


of  his  death  is  not  recorded.  He  studied  under 
Janinet,  and  produced  a  large  number  of  beautiful 
works.  Besides  whole-length  portraits  of  Mar- 
shals Mass^na  and  Jourdan,  and  General  Pichegru 
after  Hilaire  Le  Dru,  as  well  as  several  plates  for 
Desnoyer's  '  Recueil  d'Estampes,'  may  be  men- 
tioned : 

Junius  Brutus  condemning  his  Sons;  after  Lethiere. 

The  Death  of  Virginia  ;  after  the  samt.' 

The  Ninth  Thermidor ;  a  frieze  ;  after  the  same. 

An  Interior  ;  after  Carle  Fernet. 

A  Hunting  Scene ;  after  the  same. 

A  Portrait ;  after  Boucher. 

COQUES,  Gonzales.     See  Cocx. 

COQUIN,  Lonis,  called  Cossin,  was  a  French 
painter  and  line-engraver,  who  was  born  at  Troyes 
in  1627,  and  died  in  Paris  after  1686.  We  have 
by  him  some  portraits,  and  a  few  subjects  after 
various  masters,  executed  with  the  graver  in  a 
style  that  has  not  much  to  recommend  it.  This 
artist  has  signed  his  plates  Coquin,  Cauquin, 
Cossinus,  and  Cossin.  He  assisted  Collet  in 
producing  the  'Book  of  Goldsmiths'  Designs' 
published  in  1663,  his  plates  being  marked  L.  C. 
The  following  engravings  are  by  him  : 

PORTRAITS. 
Louis  XV.,  King  of  France  ;  life-size. 
Valentin   Conrart,  of   the  French  Academy ;  after  0. 

Le  Fevre. 
Francois  Chauveau,  engraver ;  after  Le  Febure. 
Carl  johanu,  Count  von  Konigsmark  ;  after  Sahl. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  Virgin  Mary  :  after  Lehrun. 

St.  John  the  Evangelist  suspended  over  a  Cauldron  of 
boiling  Oil  ;  after  the  same. 

The  Stoning  of  St.  Paul  at    Lystra ;   after   J.  B.  it 
Champaiyne. 

The  School  of  ^Athens  ;  after  Raphael. 

CORBADX,  Fanny,  water-colour  painter,  was 
born  in  1812.  In  1827,  after  being  self-taught,  she 
gained  the  silver  medal  of  the  Society  of  Arts,  and 
in  1830  the  gold  medal.  She  was  the  same  year 
elected  an  honorary  member  of  the  Society  of 
British  Artists,  and  in  1839  a  member  of  the 
Institute  of  Painters  in  Water-Colours.  She  was 
further  known  as  a  student  of  and  writer  on 
Oriental  subjects  and  biblical  exegesis,  and  was 
granted  a  Civil  List  pension.  She  died  at  Brighton, 
February  1,  1883. 

CORBET,  Matthew  Ridley,  was  born  at  South 
Willinghara,  Lincolnshire,  in  1850.  After  studying 
at  the  Slade  School  he  joined  the  schools  of  the 
Royal  Academy  and  started  painting  portraits. 
Having  spent  three  years  in  Rome  under  the 
tuition  of  Signer  Giovanni  Costa,  he  devoted  his 
attention  entirely  to  the  paintins;  of  landscape, 
particularly  of  Italian  scenery.  He  exhibited  first 
in  London  in  1871  at  the  Grosvenor  Gallery  and 
afterwards  at  the  New  Gallery,  and  for  the  first 
time  in  1884  exhibited  at  the  Royal  Academy  two 
pictures  entitled  '  Morjaing  Glory'  and  'Arno  in 
Flood.'  Five  years  later  at  the  Paris  Exhibition 
of  1889  he  gained  a  bronze  medal  for  his  'Sunrise.' 
In  the  same  year  'Morning,'  an  English  landscape, 
and  in  1901  '  Val  d'Arno,'  a  scene  in  Italy,  were 
purchased  under  the  terms  of  the  Chantrey 
Bequest.  Among  his  other  pictures  were  '  Autumn 
Rains'  and  'Passing  Storm'  (1896),  'Carrara 
Mountains'  (1897),  'Florence  in  Spring'  (1898), 
'The  Dead  Knight'  (1899),  and  'Sunrise'  (1902). 
Corbet,  who  was  made  an  Associate  of  the  Royal 
Academy  in  1902,  died  in  London  the  same  year, 
a  few  months  after  his  election.  U  C  S, 

327 


A  BIOGRAPHICAL  DICTIONARY  OF 


CORBETT,  —  a  native  of  Cork,  was  a  pupil  of 
James  Barrv,  R.A.  He  practised  portrait  painting 
in  London,  "but  afterwards  returned  to  Cork  where 
he  met  with  some  success.  He  died  in  1815. 

CORBOULD,  George  James,  the  second  son  of 
Richard  Corbould,  was  born  in  1786.  He  was 
apprenticed  to  James  Heath,  the  celebrated  line- 
engraver,  and  followed  in  his  steps.     He  died  in 

CORBOULD,  Henry,  the  third  son  of  Richard 
Corbould,  was  born  in  London  in  1787.  He  studied 
painting  with  his  father,  and  was  at  an  early  age 
admitted  as  a  student  of  the  Royal  Academy,  under 
Fuseli,  where  he  gained  the  silver  medal  for  a  study 
from  the  Hfe.  While  at  the  Academy  he  made  the 
friendship  of  Flaxman,  Stothard,  West,  Chantrey, 
and  Westmacott.  He  several  times  sat  as  a  model 
to  West,  in  whose  picture  of  '  Christ  Rejected  '  his 
head  was  painted  for  that  of  St.  John ;  as  also  in 
that  of  '  Christ  Healing  the  Sick  in  the  Temple,'  in 
the  National  Gallery.  In  1808  he  exhibited  a 
painting  of  '  Coriolanus '  ;  in  the  following  year 
'The  Parting  of  Hector  and  Andromache,'  and 
'  Thetis  comforting  Achilles,'  &c.  ,■  but  his  name 
has  been  comparatively  little  before  the  public 
except  as  a  designer  for  books,  his  time  having 
been  almost  entirely  occupied  in  making  drawings 
from  ancient  marbles  in  the  possession  of  various 
English  noblemen.  Those  of  the  Woburn  Abbey 
Marbles,  made  for  the  Duke  of  Bedford,  were  en- 
graved, but  only  circulated  among  a  few  of  his 
Grace's  private  friends.  This  was  also  the  case  with 
those  executed  for  the  Earl  of  Egremont.  "The 
vast  collection  of  '  Ancient  Marbles  '  in  the  British 
Museum,  upon  which  he  was  engaged  for  about 
thirty  years,  was  in  course  of  publication  at  the 
time  of  his  death.  He  was  also  occasionally  em- 
ployed in  making  drawings  for  the  Dilettanti  and 
Antiquarian  Societies,  of  which  he  was  a  member. 
He  was  devotedly  attached  to  art,  and  was  sur- 
passed by  few  in  professional  knowledge ;  no 
painter  of  his  time  was  more  thoroughly  ac- 
quainted with  dra\\nng  ;  and  his  copies  from  the 
antique  may  be  referred  to  as  models  of  accuracy 
and  truth.  Nor  was  he  by  any  means  without 
fancy  and  invention  :  some  of  his  book  illustrations 
are  among  the  most  graceful  and  effective  pro* 
ductions  of  the  age  ;  and  few  designers  ever  more 
completely  entered  into  the  spirit  of  the  author. 
He  died  at  Robertsbridge,  in  1844,  of  an  attack  of 
apoplexy,  supposed  to  have  been  brought  on  by 
exposure  to  cold. 

CORBOULD,  Richard,  who  was  born  in  London 
in  1757,  was  a  painter,  in  oil  and  water-colour,  of 
portraits,  landscape,  and  occasionally  history ;  of 
porcelain,  and  miniatures  on  ivory,  and  enamels ; 
and  was  furthermore  an  illustrator  of  books,  and 
an  imitator  of  the  old  masters.  From  1777  to  1811 
he  was  a  constant  contributor  to  the  Royal  Aca- 
demy. He  died  at  Highgate  in  1831.  Of  his  works 
exhibited  at  the  Royal  Academy  may  be  noticed  : 

1793.  Cottagers  gathering  Sticks. 
1802.  Eve  caressiug  Adam's  Flock. 

„     The  Archangel  Michael. 
1806.  Ulysses's  Descent  into  Hades. 
1806.  View  at  Hampstead.     {At  South  Kensington.) 

CORBUTT,  C.    See  Purcell,  Richard. 

CORDELLE  AGI,  Andrea,  (Cordegliaohi,  or 
Cordella,)  who  sometimes  signed  himself  An- 
dreas Bergomensis,  came  to  Venice  at  the  close 
of  the  15th  century,  and  for  several  years  studied 
there  under  Giovanni  Bellini;  he  then  settled  at 

328 


Bergamo,  and  about  1515,  when  painting  the  great 
altar-piece  at  San  Spirito,  of  St.  John  the  Baptist 
and  other  saints,  assumed  the  title  of  Previtali. 
The  earliest  known  painting  by  him  is  a  votive 
Madonna,  now  belonging  to  Count  Ferdinando 
Cavalli,  of  Padua,  da'ted  1502.  Ridolfi  mentions 
an  '  Annunciation '  at  Ceneda  by  him,  that  Titian 
regarded  as  one  of  the  ablest  productions  of  the 
period  at  which  he  lived.  The  late  Sir  Charles 
Eastlake  possessed  a  '  Marriage  of  St.  Catharine,' 
dated  by  him  1504.  He  died  of  the  plague  in 
1528.  Many  of  the  churches  of  Bergamo  possess 
paintings  by  this  master,  as  do  also  certain  of  the 
public  and  private  collections  of  Venice.  We 
further  note: 

London,    ^'at^oml  Gallery.  ^  Madonna  and  Child, 

'  with  Monk. 

Venice.      Sir  A.  Layari't  Coll.    Ecee  Homo. 

CORDES,  WiLHELM,  a  landscape  painter,  was 
born  at  Lubeck  in  1824,  and  died  in  1869  at 
Weimar,  where  he  was  professor  at  the  school  of 
arts.  A  '  Park  in  Winter,'  and  '  Hunting  the  Wild 
Game,'  are  two  of  his  productions. 

CORDIER,  Nicolas,  called  Franciosino,  a 
French  sculptor,  painter,  and  engraver,  was  born 
in  Lorraine  in  1567.  Whilst  still  young  he  went 
to  Rome,  and  became  a  pupil  of  Michelangelo. 
After  having  painted  several  pictures  of  merit,  and 
engraved  on  wood,  he  devoted  himself  to  sculpture, 
and  acquired  a  great  reputation.  His  principal 
works  at  Rome  are  the  statues  of  David,  Aaron,  St. 
Bernard,  and  St.  Athanasius,  in  the  Basilica  of  Santa 
Maria  Maggiore,  the  colossal  bronze  tigure  of  Henry 
IV.  of  France  at  San  Giovanni  in  Laterano,  and 
the  statues  of  St.  Sylvia  and  St.  Gregory,  the  latter 
said  to  have  been  begun  by  Michelangelo,  in  the 
church  of  St.  Gregory.     He  died  at  Rome  in  1612. 

CORDIER,  Robert,  a  French  engraver,  estab- 
lished at  Madrid  in  1629.  In  1653  he  executed 
the  title-page  and  100  small  plates  for  Solorzano's 
'  Emblemata.'  On  the  top  of  the  title-page,  sup- 
ported by  figures  of  Faith  and  Religion,  heir- 
looms of  the  CathoUc  monarchy,  Philip  IV.  of 
Spain  sits  enthroned  in  all  his  habitual  gravity, 
using  the  world,  upheld  by  Atlas,  as  his  footstool. 

CORDIER,  v.,  a  French  engraver,  was  a  native 
of  Abbeville,  and  flourished  about  the  year  1760. 
His  name  is  affixed  to  a  plate  representing  a  fountain, 
from  a  design  of  G.  M.  Dumont. 

CORDOVA,  Pedro  de,  who  was  bom  at  Cor- 
dova, was  the  founder  of  the  renowned  school  of 
that  city.  He  was  instructed  in  his  art  by  Alexo 
Fernandes.  An  '  Annunciation '  by  him,  painted 
in  1475,  is  still  in  the  cathedral  of  Cordova. 

CORDUBA,  Francesco,  was  an  Italian  engraver, 
by  whom  we  have  a  set  of  plates  of  the  principal 
fountains  which  are  in  the  gardens  at  Rome,  into 
which  he  has  introduced  several  small  figures,  in 
the  style  of  Callot.  They  are  etched  with  con- 
siderable spirit. 

CORENZIO,  Belisario,  was  a  native  of  Greece, 
born,  according  to  Dominici,  in  the  province  of 
Achaia,  in  1558.  He  was  instructed  in  the  rudi- 
ments of  the  art  by  an  unkno\vn  painter,  who  was 
so  loud  in  his  praise  of  the  Venetian  artists,  that 
Belisario  burned  with  impatience  to  visit  Venice, 
that  he  might  be  benefited  by  the  contemplation 
of  those  extraordinary  productions,  of  which  the 
description  had  so  much  excited  his  curiosity.  He 
accordingly  went  to  Venice  in  1580,  when  he  was 
twenty-two  years  of  age,  and  became  a  disciple  of 
Tintoretto.     After  passing  five  years  at  Venice,  ho 


PAINTERS  AND  ENGRAVERS. 


settled  at  Naples,  wnere  his  jealousy  was  the  cause 
of  the  ill-treatment  which  foreign  artists  had  to 
endure.  Domenichino  especially  suflEered  fearful 
persecution  through  his  vindictiveness.  He  painted 
a  few  pictures  in  oil,  but  his  power  seems  to  have 
been  better  adapted  to  subjects  that  require  to  be 
executed  in  fresco,  in  which  he  is  bold,  varied,  and 
occasionally  beautiful  and  correct.  His  principal 
works  at  Naples  were  '  The  Miracle  of  the  Loaves 
and  Fishes,'  painted  in  forty  days  for  the  Refectory 
of  San  Severino,  and  frescoes  for  the  churches  of 
San  Patrizio,  San  Paolo  Maggiore,  San  Marcellino, 
San  Martino,  and  Sant'  Annunziata.  He  died  at 
Naples  in  1643. 

CORIOLANO,  Bartolommeo,  who  is  thought 
to  have  been  the  grandson  of  Cristoforo  Corio- 
lano,  was  bom  at  Bologna  in  1599.  He  was 
first  instructed  by  his  father,  but  afterwards 
entered  the  school  of  Guido  Reni,  where  he  be- 
came an  able  designer  and  engraver  on  wood.  He 
usually  made  use  of  two  blocks  for  his  woodcuts ; 
on  one  he  cut  the  outline  and  the  dark  shadows, 
like  the  hatchings  of  a  pen,  and  on  the  other 
block  the  demi-tints  ;  these  he  managed  with  great 
judgment,  and  his  prints  have  a  fine  effect.  His 
drawing  is  masterly  and  spirited,  and  his  heads  of 
a  fine  expression,  characteristic  of  the  great  school 
in  which  he  was  educated.  He  worked  at  Bologna 
from  1630  to  1647,  and  was  fond  of  developing  the 
designs  of  Guido  and  Guercino.  He  dedicated  a 
set  of  his  prints  after  Carracci,  Guido,  &c.  to  Urban 
VIII.,  who  recompensed  him  with  the  order  of 
knighthood  of  Loreto,  and  a  pension.  He  died  in 
1676.  There  are  a  few  of  his  cuts  executed  in 
chiaroscuro,  in  which  he  used  three  blocks,  which 
are  signed  with  BC  sc. ;  BC  EQ.  SC;  and 
BART.  COR.  EQUES.  F.  The  following  are 
good  examples  of  this  master : 

!St.  Jerome  in  meditation  before  a  Crucifix ;  after  Guido 

1637. 
Herodias,  with  the  Head  of  St.  John  the  Baptist;  after 

the  same. 
The  Virgin,  with  the  Infant  sleeping;  after  the  same : 

in  chiaroscuro. 
The  Virgin  and  Infant  Jesus,  with  St.  John  the  Baptist ; 

after  the  same :  in  chiaroscuro. 
The  Four  Sibyls ;  after  the  same. 
The  Virgin  and  Infant  sleeping  ;  after  F.  Vanni. 
Peace  and  Abundance  ;  after  Guido.     1642. 
Jupiter  hurUng  bolts  at  the  Giants  ;  after  the  same  ;  on 

four  sheets.    1647. 
The  Seven  Ages,  transported  to  Bologna ;  a  Thesis. 

Theresa  Maria  Coriolano,  his  daughter,  was  in- 
structed in  painting  by  Elisabetta  Sirani,  and  in 
engraving  by  her  father.  She  etched  a  small  plate 
of  the  Virgin,  half-length,  with  the  Infant  Jesus. 

CORIOLANO,  Cristoforo,  was  a  German  en- 
graver, bom  at  Nuremberg  in  1540.  Heinecken 
states  that  the  family  name  of  this  artist  was  Le- 
DEREB,  which  he  exchanged  in  Italy  for  that  of 
Coriolano.  He  engraved  on  wood,  and  was  a  very 
able  artist.  In  the  Life  of  Marc-Antonio,  Vasari 
assures  us  that '  Maestro  Cristof  ano,'  after  executing 
at  Venice  an  infinite  number  of  fine  things,  engraved 
on  wood  the  portraits  of  the  painters,  sculptors, 
and  architects,  after  Vasari' s  designs,  for  his  '  Lives 
of  the  Painters,'  first  published  in  1568.  They 
are  very  masterly  performances,  but  Zani  considers 
them  to  be  the  work  of  Christoph  Chrieger.  He 
also  engraved  the  greater  part  of  the  figures  in  the 
'Ornithology'  of  Ulisse  Aldrovandi.  He  died  at 
Venice  in  the  beginning  of  the  17th  century. 

CORIOLANO,  Giovanni  Battista.Is  believed  to 


have  been  the  son  of  Cristoforo  Coriolano  ;  he  was 
bom  at  Bologna  in  the  year  1590,  and  died  there 
in  1649.  He  studied  painting  under  Giovanni 
Lodovico  Valesio,  but  did  not  distinguish  himself 
much  as  a  painter,  although  he  was  employed  for 
some  of  the  churches  at  Bologna.  In  Santa  Anna 
are  two  pictures  of  St.  Nicholas,  and  St.  Bruno ; 
and  in  the  Nunziata  an  altar-piece  of  St.  John,  St. 
James,  and  St.  Bernard.  As  an  engraver,  he  is 
entitled  to  more  consideration.  He  worked  both  on 
wood  and  on  copper ;  but  his  woodcuts  are  greatly 
preferable  to  his  engravings.  Those  in  chiaroscuro 
are  dated  from  1619  to  1625.  Among  his  best 
works,  which  resemble  in  style  those  of  F.  Villa- 
mena,  are  the  following  : 

PORTRAITS. 

Vincenzo  Sgualdi. 
Fortunius  Licetus. 
The  same  Portrait:  a  woodcut. 
Joannes  Cottunius. 

SUBJECTS   AFTER   VARIOUS    MASTERS. 

The  Image  of  the  Virgin  ;  J.  B.  Coriolanus,  sc. 

The  miraculous  Image  of  the  Virgin,  painted  by  St. 
Luke,  held  by  three  angels  ;  after  Guido. 

The  Virgin  and  Child,  and  St.  John  ;  after  A.  Tiarini. 

Christ  crowned  with  Thorns  ;  etched  in  imitation  of  a 
woodcut ;  after  L.  Carracci  ;  fine. 

Cupid  sleeping  ;  in  chiaroscuro  ;  after  Guido. 

Triumphal  Arch  in  honour  of  Louis  XIII. ;  II  Corio- 
lano, fee. 

Twenty-seven  plates  for  the  '  Emblemata '  of  Paolo 
Maccio ;  the  entire  work  consists  of  eighty-three 
plates  ;  the  rest  being  by  0.  Gatti  and  A .  Farasina. 

He  also  engraved  a  number  of  theses  and  frontis- 
pieces. His  plates  were  signed  with  his  full  name, 
or  B.  C  F.  ;  Cor ;  or  Corio. 

CORKOLE,  Adgdste,  a  Belgian  genre  painter, 
was  born  at  Ghent  in  1822,  and  died  in  that  city 
in  1875. 

CORNARA,  Carlo,  was  born  at  Milan  in  1605, 
and  became  a  scholar  of  Camillo  Procaccini.  He 
did  not  produce  many  works,  but  they  were  de- 
signed with  an  excellent  taste,  particularly  his 
easel  pictures,  which  were  highly  esteemed.  One 
of  the  best  of  bis  public  works  is  his  picture  of  St. 
Benedict  at  the  Certosa  at  Pavia.    He  died  in  1673. 

CORNEILLE,  Claude,  a  French  painter  and 
engraver,  was  a  native  of  Lyons,  who,  during  the 
reigns  of  Francis  I.,  Henry  II.,  Francis  II.,  and 
Charles  IX.,  enjoyed  a  great  reputation^  for  his 
portraits.  They  are  usually  of  small  size,  and 
very  pale  in  colour,  and  are  often  attributed  to 
Jannet.  Brantome,  in  his  '  Memoires,'  mentions 
with  much  praise  a  picture  of  Catharine  de'  Medici 
with  her  two  daughters,  and  there  is  in  the  Lenoir 
collection  at  Stafford  House  a  portrait  of  Louise 
Marguerite  of  Lorraine,  Princess  of  Conty.  A 
portrait  of  Francis  I.,  attributed  to  Comeille,  is  in 
the  Louvre.  His  engravings  are  slight,  and  betray 
the  hand  of  a  painter.  Robert-Dumesnil  gives  a 
list  of  them  in  his  '  Peintre-Graveur  Fran^ais,'  the 
best  known  being  the  58  portraits  of  the  French 
kings  in  the  '  Epitomes  des  Roys  de  France,'  printed 
at  Lyons  in  1546.  Claude  Corneille  died  after 
1576.  ,   ,  ^ 

CORNEILLE,  Jean  Baptists,  (called  Corneille 
LE  Jeune,)  was  a  painter  who  was  born  in  Pans  in 
1649,  and  died  there  in  1695.  He  was  a  younger 
son  of  Michel  Corneille  of  Orieans,  and  was  m- 
structed  by  his  father,  who  sent  him  to  Italy.  After 
passing  some  years  at  Rome  he  returned  to  Paris, 
and  was  received  into  the  Academy  in  1675,  the 

329 


A  BIOGRAPHICAL  DICTIONARY  OF 


picture  which  he  painted  for  his  reception  being 
the  'Pimiehment  of  Busiris  by  Hercules.'  It  has 
been  engraved  by  Jean  Mariette,  and  is  now  in  the 
Louvre.  Inferior  to  his  brother  in  the  correctness 
of  his  design,  he  was  still  a  reputable  painter,  and 
gave  proof  of  his  talent  in  several  public  works  at 
Paris.  For  the  cathedral  of  Notre-Dame  he  painted 
the  '  Deliverance  of  St.  Peter  from  Prison,'  which 
has  been  engraved  by  B.  Picard  ;  and  for  the  church 
of  the  Carmelites,  '  Christ  appearing  to  St.  Theresa 
and  St  John  of  the  Cross.'  He  also  engraved 
several  plates  from  his  own  designs,  and  some  after 
the  Carracci.  They  are  etched  with  great  spirit, 
and  some  of  them  are  finished  with  the  graver. 
The  following  are  his  best  plates  : 

SUBJECTS    FROM    HIS   OWN    DESIGNS. 
The  Bust  of  Michelangelo. 
Susannah  and  the  Elders. 
St.  Augustine  m  the  midst  of  his  Disciples. 
St.  Bernard. 

Christ  appearing  to  St.  Theresa  and  St.  John. 
The  Bust  of  Monsieur,  crowned  by  Victory. 
Apollo  and  Cupid ;  a  medallion. 
Apollo  and  Daphne  ;  the  same. 
Mercury  in  the  Air. 
Diana  and  Cahsto. 

SUBJECTS   AFTER   THE   CARRACCI. 
St.  John  in  the  'Wildemess  ;  after  A  niubale  Carracci. 
Christ  with  the  Samaritan  Woman ;  after  the  samt. 
Two  Landscapes,  with  St.  Francis. 

CORNEILLE,  Michel,  a  French  painter,  was 
born  at  Orleans  in  1601.  He  was  a  scholar  of 
Simon  Vouet,  in  whose  style  he  painted  several 
works  for  the  churches,  and  was  one  of  the  twelve 
original  members  of  the  Boj-al  Academy  at  Paris. 
His  most  celebrated  work, '  St.  Paul  and  St.  Barnabas 
at  Lystra,'  was  painted  for  the  cathedral  of  Notre- 
Dame,  and  has  been  engraved  by  Poilly.  His  plates 
were  signed  with  the  letters  M.  C-  He  died  in 
Paris  in  1664.  Corneille  etched  several  subjects 
after  Raphael,  the  Carracci,  and  others ;  among 
which  are  the  following  : 

The  Holy  Family,  with  St.  Elizabeth ;  after  Raphael. 
The  Murder  of  the  Innocents  ;  after  the  same. 
Christ  appearing  to  Mary  Magdalene  ;  after  the  iame. 
The  Virgin  suckling  the  Infant  Jesus;  after L.  Carracci. 

CORNEILLE,  Michel,  (called  Cobn'eille  l'AIne,) 
a  painter,  was  born  in  Paris  in  16-12.  He  was  the 
son  of  Michel  Corneille  of  Orleans,  and  studied 
under  his  father  and  under  Le  Brun  and  Mignard. 
He  gained  the  pension  at  the  Academy,  which  en- 
abled him  to  visit  Italy ;  but  once  there,  he  soon  freed 
himself  from  the  tie  in  order  to  study  the  antique 
in  his  own  way.  The  works  of  the  Carracci  became 
eventually  the  model  of  his  choice.  On  his  return 
to  France  he  became  a  member  of  the  Academy  in 
1663,  painting  for  his  reception  a  picture  of  '  Our 
Lord's  appearance  to  St.  Peter  after  his  Resurrec- 
tion,' and  was  subsequently  employed  by  the  King  at 
Versailles,  Meudon,  and  Fontainebleau.  He  decor- 
ated with  frescoes  the  cupola  of  the  chapel  of  St. 
Gregory  the  Great  in  the  Invalides,  and  painted  the 
'  Calling  of  St.  Peter  and  St.  Andrew '  for  the  cathe- 
dral of  Notre-Dame.  He  also  painted  a  '  Holy 
Family '  for  the  Church  of  the  Feuillants,  a  '  Mas- 
sacre of  the  Irmocents '  for  that  of  the  Innocents, 
and  a  '  St.  Francis'  for  the  Capuchin  church  of  the 
quarter  of  the  Temple.  Towards  the  close  of  his 
life  he  had  apartments  at  the  Gobelins  manufactory, 
and  is  occasionally  spoken  of  as  '  Corneille  des 
Gobelins.'  The  Louvre  has  by  him  a  '  Repose  in 
Egyptj'  *Dd  the  Bordeaux  Museum  a  '  Baptism  of 

330 


Constantlne. '  He  drew  correctly,  and  his  works  are 
remarkable  for  a  careful  management  of  the  half- 
lights  :  his  heads  are  not  devoid  of  a  certain  nobility. 
Simonneau,  Tardieu,  Sarrabat,  Jean  Mariette,  and 
Audran  have  engraved  after  him.  He  himself 
etched  and  engraved  with  a  broad,  free  point  up- 
wards of  a  hundred  plates,  which  show  considerable 
taste.  He  died  at  the  Gobelins  in  Paris  in  1708. 
The  following  are  his  principal  works : 

subjects  from  his  own  designs. 

The  Deity  appearing  to  Abraham. 

Abraham  journeying  with  Lot. 

Abraham  discomfiting  the  Army  of  the  confederate 
Kings. 

Abraham  setting  out  with  his  son  Isaac  for  the  Sacrifice. 

[These  four  plates  having  come  into  the  possession  of  a 
printseller  at  Eome,  named  Eossi,  he  put  the  name 
of  Kaphael  on  them ;  they  are  now  scarce.] 

Samson  and  Delilah. 

The  Conception  of  the  Virgin. 

The  Annunciation  ;  in  two  plates. 

The  Nativity. 

The  Infant  Jesus  in  the  Manger. 

The  FUght  into  Egypt. 

The  Calhng  of  St.  Peter  and  St.  Paul  to  the  Apostleship. 

St.  Francis  kneeling  before  the  Cross. 

Christ  and  the  Virgin  appearing  to  St.  Francis. 

subjects  after  various  masters. 

The  Marriage  of  St.  Catharine  ;  after  L.  Carracci. 
The  Virgin  and  Infant  Jesus  in  a  Landscape ;  after 

Agostino  Carracci. 
Jacob  wrestUng  with  the  Angel,  in  a  Landscape ;  etfter 

Annibale  Carracci. 
St.  John  preaching  in  the  Desert ;  after  the  same. 
St.  Jerome  in  a  Landscape  ;  after  the  same. 
St.  Francis  receiving  the  Stiginata  ;  after  the  same. 
Silenus,  a  Satyr,  and  a  Faun,  in  a  Landscape  ;  after  tha 

same. 
Abraham  sending  away  Hagar ;  after  the  same. 

CORNEJO.     See  Duque  Cornejo. 

CORNELIS,  Albert.  It  is  not  known  where 
this  master  was  born  or  where  he  learned  his  art. 
He  was  admitted  as  master-painter  into  the  Guild 
of  Saint  Luke  at  Bruges  between  1492  and  1498, 
and  held  the  office  of  '•  vinder  "  in  1518-19.  He 
died  in  1532.  He  was  employed  by  the  magistrates 
of  Bruges  in  1520  to  paint  the  decorations  of  the 
streets  for  the  joyous  entry  of  the  King  of  the 
Romans  on  July  24,  1520.  Documents  in  the 
archives  of  Bruges  shown  that  he  executed  many 
paintings,  but  only  one  of  these  is  kno^^Ti :  the 
'  Coronation  of  the  B.  Virgin,'  in  the  church  of 
Saint  James  at  Bruges. 

CORNELIS,  Lambert,  was  a  Dutch  engraver  of 
the  latter  part  of  the  16th  century,  who  was  chiefly 
employed  for  the  booksellers  in  engraving  portraits. 
He  resided  for  a  long  time  in  France.  Among 
others,  we  have  by  him  the  portrait  of  Tj"cho  Brahe, 
the  astronomer,  and  one  of  his  best  works  is  the 
portrait  of  Queen  Anna  of  Poland,  1696. 

CORNELISZ,  (or  Cornelissen,)  Cornelis,  was 
bom  at  Haarlem  in  1562.  He  was  at  first  a  scholar 
of  Pieter  Pietersz,  son  of  Pieter  Ariaensz,  but  betook 
himself  to  France  when  only  seventeen  3-ears  of  age. 
On  being  driven  back  by  the  plague  he  made  his 
way  to  Antwerp,  and  worked  under  Frans  Porbus 
and  Gillis  Congnet.  He  afterwards  returned  to 
Haarlem,  and  there,  in  conjunction  with  C.  van 
Mander,  founded  an  Academy,  from  which  many 
excellent  artists  were  sent  out.  He  was  Regent 
of  the  Old  Men's  Hospital  from  1614  to  1619,  and 
died  at  Haarlem  in  1637.  His  paintings  comprised 
allegorical,  mythological,  and  historical  scenes,  to- 


PAINTERS  AND  ENGRAVERS. 


Amsterdam. 
Berlin. 

3fuseum, 
Gallery. 

Brunswick. 

Gallery. 

» 

It 

Dresden. 

Gallery. 

» 

II 

Hague. 

3> 

Museum. 

Petersburg. 

ffermitage 

Stockholm. 
Vienna. 

Gallery. 
Gallery. 

1590. 


chef' 


gether  with  portraits  and  flower-pieces.  They  are 
distinguiBhed  especially  by  careful  drawings  from 
the  nude,  and  accurate  foreshortening  of  the  figures. 
One  of  his  paintings,  '  The  Rest  upon  the  Flight 
into  Egypt,'  he  afterwards  engraved  ;  and  Kilian, 
Goltzius,  Jan  Muller,  and  others,  have  reproduced 
many  of  his  works.  Cornells  Bega  was  his  grand- 
eon.  The  following  paintings  by  him  are  in  public 
galleries : 

Massacre  of  the  Innocents. 

Bathsheba.     1617. 

An  Kntcrtainment.     1618. 

The  Deluge.     1592. 

The    Golden    Age.      (His 

d'ceuvre.)     1615. 
Venus,  Apollo,  and  Ceres. 
An  Old  Man  showing  a  full  Purse 

to  a  Girl. 
Massacre  of  the  Innocents.  1591. 
The    Marriage    of    Peleus    and 

Thetis. 
.  Baptism  of  Christ. 
Cimon  and  Iphigenia. 
The  Judgment  of  Paris. 
The  Dragon  devouring  the  Men 

of  Cadmus. 

CORNELISZ,  (or  Cornelissen,)  Jacob,  who  was 
born  at  Oost-Zaan  in  North  Holland  about  1475- 
1480,  was  living  at  Amsterdam  in  the  first  quarter 
of  the  16th  century,  and  distinguished  himself  as  a 
painter  and  a  designer  on  wood.  He  was  still 
painting  in  1553,  and  died  in  Amsterdam  at  an 
advanced  age.  He  was  one  of  the  masters  of  Jan 
Schoorl.  Though  he  is  sometimes  defective  in  the 
nude,  his  compositions  are  spirited,  his  heads  ex- 
pressive, and  there  is  a  great  variety  in  his  figures. 
The  greater  part  of  his  numerous  pictures  for  the 
churches  of  Holland  perished  during  the  Reforma- 
tion.    Of  his  paintings  there  are  preserved : 

Portrait  of  a  Man  with  a  long 

white  beard. 
The  Triumph  of  Religion.    1523. 

{Falsely    ascribed    to    Jan    De 

Mabuse.) 
Herodias  with  the  Head   of  St. 

John  the  Baptist.     1524. 
Portraits  of  a  Dutch  Lady  and 

Gentleman. 
A  Crucifixion. 

To  this  artist  belong  the  wood-cuts  which  were 
during  the  last  century  ascribed  to  a  certain  Jan 
Werner,  or  Jan  Walther  van  Assen,  but  which  are 
assigned  to  Jacob  Cornelisz  in  an  edition  of  the 
'  Historia  Christi  patientiset  morientis,' dated  1651. 
His  wood-cuts,  which  were  as  much  admired  as 
the  copper-plates  of  his  contemporary,  Lucas  van 
Leyden,  are,  however,  so  numerous  as  to  preclude 
the  idea  that  he  could  have  done  more  than  make 
the  designs.     Among  the  best  are  : 

12  plates  of  the  Passion.     1517. 
6      „    of  the  Life  of  Christ. 

10      „    of    Counts    and    Countesses    of   Holland  on 
Horseback. 

Jesus  disputing  with  the  Doctors. 

St.  Hubert. 

His  son.  Dirk  Jacobsz,  was  a  good  portrait 
painter,  who  died  in  1567. 

CORNELISZ,  (or  Cornelissen,)  Lucas,  called 
Koch  ('  the  Cook '),  was  a  Dutch  painter,  born  at 
Leyden  in  1493.  He  was  the  son  of  Comelis  Engel- 
brechtsen,  and  was  instructed  by  his  father.  The 
little  encouragement  the  art  experienced  at  that 
time  in  his  native  country,  obliged  him,  for  the  sup- 
port of  a  numerous  family,  to  exercise  the  occupa- 


Berlin. 

Gallery. 

Cassel. 

Gallery. 

Hague. 

Museum. 

London. 

Nat.  Gal. 

Munich. 

Gallery. 

tion  of  a  cook,  and  eventually  induced  him  to  visit 
England  in  the  reign  of  Henry  VIII.,  by  whom  he 
was  employed,  and  was  made  painter  to  the  king. 
Van  Mander  mentions  some  of  the  works  of  this 
master  at  Leyden,  among  others,  the  '  Adulteress 
before  Christ.'  Of  his  works  in  England,  the  six- 
teen portraits  of  the  Constables  of  Queenborough 
Castle,  at  Penshurst,  are  the  most  considerable; 
and  though  few  of  them  can  be  original  paintings, 
they  possess  great  merit.  At  Hampton  Court  there 
are  four  small  female  portraits,  probably  copies, 
attributed  to  him.     He  died  in  England  in  1552. 

CORNELIUS,  Peter  vo.nt.  This  famous  German 
pamter  was  born  on  the  23rd  of  September,  1783, 
at  Dusseldorf,  where  his  father  was  Inspector  of 
the  Gallery,  an  appointment  by  no  means  lucrative, 
and  scarcely  sufficient  for  the  support  of  his 
numerous  family.  The  disposition  of  Cornelius 
for  the  profession  of  art  was  evinced  at  a  very 
early  age  by  his  drawings  in  outline  of  single 
figures,  groups,  battles,  and  hunting  parties,  which 
were  pronounced  by  those  who  had  opportunities 
of  seeing  his  untutored  essays  to  be  by  no  means 
devoid  of  an  intuitive  skill  in  their  execution  and 
arrangement.  Yet  the  character  of  his  talent  was 
questioned,  and  it  was  against  the  advice  of  friends 
that  he  was  allowed  to  proceed  in  his  studies  at  the 
Academy,  where  he  continued  drawing  industri- 
ously after  the  antique.  Whilst  yet  a  boy  he  lost 
his  father,  an  event  which  immediately  incited  his 
naturally  energetic  temperament  to  extraordinary 
exertion,  commensurate  with  the  bereavement  and 
its  threatened  consequences.  In  a  letter  to  Count 
Raczynski,  he  states: — 

"  I  was  in  my  sixteenth  year  when  I  lost  my 
father,  and  it  fell  to  the  lot  of  an  elder  brother  and 
myself  to  watch  over  the  interest  of  a  numerous 
family.  It  was  at  this  time  that  it  was  attempted 
to  persuade  my  mother  that  it  would  be  better  for 
me  to  devote  myself  to  the  trade  of  a  goldsmith 
than  continue  to  pursue  painting — in  the  first  place, 
in  consequence  of  the  time  necessary  to  qualify  me 
for  the  art ;  and  in  the  next,  because  there  were 
already  so  many  painters.  My  dear  mother,  how- 
ever, rejected  all  this  advice,  and  I  felt  myself 
impelled  onward  by  an  uncommon  enthusiasm, 
to  which  the  confidence  of  my  mother  gave  new 
strength,  which  was  supported  by  the  continual 
fear  that  I  should  be  removed  from  the  study  of 
the  art  I  loved  so  much." 

In  the  works  of  this  distinguished  artist  it  is 
observed  that  the  study  of  nature  and  the  technique 
of  his  art  occupy  him  less  than  the  care  of  express- 
ing his  thoughts  in  a  powerful  and  characteristic 
manner  ;  and  it  would  often  seem  that  those  of  his 
figures  which  are  most  forcible  and  elevated  in 
style  are  deficient  of  vitality,  insomuch  that  we 
might  almost  say  that  their  life-blood  had  been 
arrested  in  its  circulation.  Force  and  grandeur  are 
abundant  elements  in  the  character  of  his  works, 
but  we  do  not,  perhaps,  perceive  in  an  equal  degree 
truth  and  refined  taste.  In  explanation  of  this  it 
should  be  observed  that  a  new  era  had  about  this 
time  commenced  in  German  literature.  The  prin- 
ciples of  Winckelmann,  which  presented  as  the  soli- 
tary rule  the  study  of  the  antique,  were  no  longer 
admitted  as  those  alone  which  could  develop  skilful 
artists.  It  was  perceived  that  an  overweening  love 
of  the  antique  had  in  a  great  measure  contributed 
to  the  unintelligible  affectations  of  the  French 
school ;  yet  certain  schools,  and  especially  that  of 
Diisseldorf,  pursued  the  ancient  method  ;  and  Cor- 

331 


A  BIOGRAPHICAL  DICTIONARY  OF 


nelius  distinguished  himself  by  his  faithful  adher- 
ence to  it  for  a  length  of  time.  And  j-et  all  who 
would  essaj'  to  reconcile  his  particular  principles 
with  those  of  Winckelmann — who  would  endeaTour 
to  place  him  in  opposition  to  Gothe, — who  would 
pronounce  him  too  exclusively  under  the  influence 
of  the  revival  of  mediaeval  religious  art,  and  op- 
posed to  the  study  of  models  and  an  imitation  of 
nature  ; — in  short,  all  who  would  seek  to  discover 
in  Cornelius  a  constant  system,  are  altogether 
ignorant  of  the  force  of  the  original  genius  by 
which  he  was  continually  swayed.  He  was,  how- 
ever, the  fellow-labourer  with  Overbeck  in  the 
artistic  movement  which  too  much  repudiated  the 
charms  of  colour,  and  made  fresco  once  more 
adopted.  The  first  important  works  of  his  youth 
were  the  decorations  of  the  church  of  Neuss,  an 
attentive  examination  of  which  declares  a  study  of 
the  works  of  Raffaelle.  At  the  age  of  twenty-six 
he  produced  his  compositions  from  Faust,  after 
which,  in  1811,  he  went  to  Rome,  where  he  became 
one  of  the  brotherhood  of  painters,  amongst  whom 
was  Overbeck,  whose  particular  friend  he  was,  in- 
somuch that  the  King  of  Bavaria  associated  them 
in  a  comparison  to  St.  John  and  St.  Paul.  They 
dwelt  together  in  an  old  convent,  labouring  from 
morning  to  night,  with  a  mutual  understanding  that 
each  should  pronounce  in  sincerity  on  the  produc- 
tions of  the  other.  Cornelius  was  one  of  those 
artists  engaged  in  the  decoration  of  the  Villa 
Bartoldi,  and  at  the  same  time  was  busied  in  his 
illustrations  of  the  Nibelungenlied.  From  Rome  he 
was  called  to  Diisseldorf  to  remodel  the  Academy, 
and  to  Munich  to  take  the  direction  of  the  frescoes 
which  the  then  Prince  Royal  of  Bavaria  had  pro- 
jected for  the  Glyptothek.  Thus  divided  between 
Diisseldorf — where  he  held  the  appointment  of 
Director  of  the  Academy — and  Munich,  where  he 
was  charged  with  the  execution  of  many  works,  he 
resigned  his  appointment  in  the  former  city,  to 
devote  himself  exclusively,  with  those  of  his  pupils 
who  thought  fit  to  accompany  him,  to  his  commis- 
sions at  Munich,  of  the  Academy  at  which  place 
he  was  appointed  Director  on  the  death  of  Sanger. 
It  is  from  this  period  may  be  dated  the  immense 
activity  in  the  arts  in  Munich  under  the  reign  of 
King  Ludwig.  Of  this  movement  Cornelius  was 
the  prime  mover — as  the  head  of  the  school ;  and 
from  Munich  his  reputation  extended  throughout 
Europe.  It  would  be  vain  to  attempt  a  Catalogue 
Raisonnde  of  his  great  works  in  that  city  ;  it  must 
suffice  to  indicate  the  leading  features  of  the  prin- 
cipal. In  the  Glyptothek  he  decorated  two  large 
halls,  one  called  the  'Hall  of  Heroes,'  the  other  the 
'  Hall  of  the  Gods,'  with  frescoes  based  upon  the 
heathen  m3'thology,  and  painted  according  to  the 
genius  of  the  antique.  In  the  Pinakothek  he 
painted  a  great  work  illustrative  of  the  '  History 
of  Painting,'  and  even  whilst  occupied  with  these 
he  found  time  to  decorate  the  Ludwigs-Kirche  with 
four  large  frescoes — 'God  the  Father,'  'The  Na- 
tivity,' 'The  Crucifixion,'  and  'The  Last  Judgment,' 
the  last  of  which  measures  62  feet  high,  by  38 
wide.  About  1847  Frederick  William  IV.  of 
Prussia  invited  Cornelius  to  Berlin,  where  he  gave 
him  a  commission  to  decorate  the  Campo  Santo,  or 
Royal  Mausoleum,  destined  to  form  one  of  the 
wings  of  the  new  cathedral,  the  building  of  which 
was  commenced  some  years  ago.  His  designs  for 
this  purpose  possessed  grandeur  and  originaUty, 
surpassing  in  daring  all  that  the  master  had  here- 
tofore produced, '  The  Four  Knights  of  the  Apoca- 
332 


lypse '  being  especially  noticed  in  this  respect ; 
these  have  been  engraved  byThater,  and  published 
at  Leipsic,  in  1848.  During  his  sojourn  at  Berlin 
the  King  of  Prussia  took  the  opportunity  to  get 
Cornelius  to  make  the  design  for  the  silver  shield 
intended  as  a  present  for  his  godchild,  the  Prince 
of  Wales,  and  which  will  be  remembered  as  an 
attractive  object  at  the  great  Exhibition  of  1851. 
Reviewing  the  varied  works  of  this  great  master, 
we  find  that  the  Old  Testament,  Homer,  Gothe, 
Dante,  the  Nibelungen,  the  German  Troubadours, 
and  the  New  Testament,  have  all  in  turn  supplied 
him  subject  matter.  The  heroic  is  most  in  accord- 
ance with  his  natural  disposition  ;  he  is,  however, 
not  insensible  to  grace,  and  has  expressed  the  tender 
sentiments  with  the  utmost  felicity.  Most  of  his 
paintings  at  Munich  have  been  engraved  by  Amsler, 
EberU,  SchoeflEer,  &c.  When  the  employment  of 
historical  painters  was  determined  upon  for  the 
decoration  of  our  New  Houses  of  Parliament,  Cor- 
nelius was  invited  to  this  country  and  advised  the 
adoption  of  fresco  painting,  an  unfortunate  advice, 
our  climate  being  considered.  He  died  in  Berlin 
on  the  6th  March,  1867. 

Herr  Forster  has  published  '  Peter  von  Cornelius. 
Ein  Gedenkbuch  aus  seinem  Leben  und  Wirken,' 
Berlin,  1874,  8vo,  2  vols.  W.B.S. 

CORNER,  John,  a  line-engraver,  published  in 
1825  an  interesting  series  of  twenty-five  '  Portraits 
of  Celebrated  Painters,'  beneath  each  of  which  is  a 
small  medallion  containing  the  artist's  most  cele- 
brated work. 

CORNISH,  — .  This  name  is  affixed  to  a 
slightly  etched  portrait  of  Dr.  Charles  Rose,  a 
Scotch  clergyman.  It  was  probably  the  work  of 
an  amateur,  who  was  a  member  of  the  University 
of  Oxford,  as  it  is  inscribed  Cornish,  Oxoii. 

CORNU,  SiBASTiEN  Melchior,  a  French  historical 
painter,  was  born  at  Lyons  in  1804.  He  first 
studied  under  Richard  and  Bonnefond,  and  then 
went  to  Paris  and  entered  the  studio  of  Ingres. 
There  are  by  him  at  Versailles  the  '  Surrender  of 
Ascalon  to  Baldwin  III.,"  and  the  '  Battle  of  Oued- 
Halleg.  He  continued  the  decorative  works  at  St. 
Germain-des-Pres  after  the  death  of  Flandrin,  and 
died  at  Longpont  (Seine-et-Oise)  in  1870. 

CORONA,  Jacob  Lucids,  called  Jacob  Lucius 
VON  Cronstadt,  and  also  the  Master  op  the  Key, 
a  wood-engraver  who  lived  in  the  16th  century, 
was  a  native  of  Cronstadt  in  Transylvania.  He 
executed  many  wood-cuts  after  the  designs  of 
Lucas  Cranach,  and  in  1564  removed  from  Witten- 
berg to  Rostock,  where  he  engraved  on  wood  in 
1578,  after  the  court  painter  Cornelius  Cromeny, 
the  '  Genealogical  Tree  of  the  Dukes  of  Mecklen- 
burg.' His  wood-cuts  are  also  to  be  found  in  the 
Wittenberg  Bib'e  of  1572,  although  dated  1558. 
His  prints  are  signed  J.  L.  C.  T.  (Jacobus  Lucius 
Corona  Transylvanus),  sometimes  Jacob  Sieben- 
biirgen,  or  with  one  or  other  of  the  following 
monograms :  s^^T^    j^o 

CORONA,  Leonardo,  the  son  of  a  miniature 
painter,  was  born  at  Murano  in  1561,  and,  accord- 
ing to  Ridolfi,  was  first  instructed  by  Rocca  da 
San  Silvestro,  a  painter  of  little  note,  who  employed 
him  in  copying  ;  but  he  afterwards  improved  him- 
self by  studying  the  works  of  Titian  and  Tinto- 
retto. He  also  derived  the  greatest  benefit  from 
his  acquaintance  with  Alessandro  Vittoria,  an 
eminent  sculptor,  who,  Lanzi  says,  gave  him  chalk 


H 
O 

O 

u 
u 


PAINTERS  AND  ENGRAVERS. 


models  for  the  better  management  of  the  chiaro- 
scuro, and  assisted  him  in  his  much -esteemed 
picture  of  the  'Annunciation'  in  SS.  Giovanni  o 
Paolo,  and  his  more  admired  work  of  the  '  Assump- 
tion '  in  San  Stefano,  painted  with  a  greatness  of 
style  that  approaches  to  Titian.  In  San  Fantino  is 
his  picture,  so  much  applauded  by  Ridolfi,  of  the 
'  Crucifixion,'  in  which  he  treads  so  closely  on  the 
heels  of  Tintoretto  as  to  be  little  short  of  the  excel- 
lence of  that  master.  He  died  at  Venice  in  1605. 
It  is  said  that  he  copied  the  works  of  Titian  so 
exactly,  that  connoisseurs  mistook  his  imitations  for 
the  originals.  Tlie  Brunswick  Gallery  contains 
two  paintings  by  him — 'Joseph  and  Potiphar'a 
Wife,'  and  '  The  Death  of  Lucretia.' 
CORONATO,  II.  See  Calvi,  Giulio. 
CORONELLI,  ViNCENZo  Maria,  an  Italian  geo- 
grapher and  draughtsman,  was  bom  at  Venice 
about  1650.  He  entered  the  order  of  the  Minorites, 
and  went  to  France,  where  he  constructed  the 
celebrated  globes  which  are  now  in  the  National 
Library  at  Paris.  On  his  return  to  Venice  he  was 
made  cosmographer  of  the  Republic,  and  founded 
the  Academy  of  the  Argonauts.  In  1 702  he  became 
general  of  his  order.  He  died  at  Venice  in  1718. 
Among  other  works  he  published  '  Ritratti  de' 
celebri  Personaggi,'  1697  ;  '  Lo  Specchio  del  Mare,' 
1698;  'Atlante  Veneto,'  1691-96;  'Roma  antico- 
moderna,'1716  ;  and  'Singolarita  di  Venezia,'  some 
of  the  plates  in  which  he  probably  engraved. 

COROT,  Jean  Baptiste  Camille,  was  born  in 
Paris,  of  humble  parentage,  in  1796.    After  receiv- 
ing his  education  in  the  Lyc^e  of  Rouen,  he  was 
placed  in  a  draper's  shop.     He  did  not  follow  his 
inclination  till  he  was  twenty-two,  when  he  became 
a  pupil  of  Michallon,  then  of  Victor  Bertin,  and 
finally  completed  bis  studies  in  Italy.     In  1827  he 
sent  two  of  his  works  to  his  first  exhibition,  and 
amongst  those   which   succeeded    them   may   be 
named :  '  A  View  in  Italy,'   '  A  Souvenir  of  the 
Environs  of  Florence,'  'The  Burning  of  Sodom,' 
'  Evening,'   '  The   Lake,'  '  An  Idyll,'  '  The  Italian 
Tyrol,'  'A  Souvenir  of  Marcoussy,'  &c.     Besides 
these  landscapes,   he   painted  several  figure  sub- 
jects, such  as :  'A  Dance  of  Nymphs,'  '  Ariadne,' 
'Macbeth,'  'St.   Sebastian,'  'Christ  in  the  Garden 
of  Olives,'  '  Dante  and  Virgil,'  and  '  Hagar  in  the 
Desert ; '  the  two  last  named  being  bequeathed  by 
him  to  the  Louvre.     Corot's  method  was  to  work 
in  the  country  in  the  summer,  early  and  late,  in 
the  open  air,  to  catch  those  effects  only  to  be  seen 
at  dawn,  at  sunset,  and  by  moonlight,  in  which  he 
delighted.     During  the  winter  he  worked  in  his 
studio  on  the  ideas  thus  afforded  him.     His  origin- 
ality was  great :  he  saw  and  portrayed  nature  with 
his  own  eyes  in  a  manner  replete  with  poetry  and 
fancy,  in  which  style  he  has  found  followers  in 
Troy  on,  Diaz,  and  others.     In  his  early  years  he 
nad   to  contend   with   poverty,  but  in  after   life 
wealth  flowed  freely  in  on  him,  and  he  was  never 
unmindful  of  the  poor  and  struggling  artist.     It  is 
computed  that  his  benevolences  during  the  siege 
of  Paris  in  1870  amounted  to  25,000  francs.     He 
received  medals  for  his  works  in  1833,  1848,  1855, 
and  1867,  and  was  decorated  with  the  Cross  of  the 
Legion  of  Honour  in  1846,  becoming  an  officer  of 
the  order  in  1867.     As  a  mark  of  their  esteem  for 
'  le  pere  Corot,'  his  brother  artists  presented  him 
with  a  gold  medal  shortly  before  his  death,  which 
occurred  in  Paris  on  the  22nd  of  February,  1875. 
He  bequeathed  to  the  Luxembourg  two  views— one 
of  the  Forum,  the  other  of  the  Colosseum  at  Rome. 


The  pictures,  sketches,  etchmgs,  &c.,  remaining  in 
his  studio  were  sold  for  400,000  francs.  Two  Land- 
scapes by  him  are  in  the  Lille  Museum,  and  one 
each  in  the  Museums  of  Bordeaux,  Douai,  Metz, 
and  Langres. 

CORR,  Erin,  a  Belgian  line-engraver,  was  born 
of  Irish  parentage  at  Brussels  in  1803.  After 
studying  under  De  Meulemeester,  he  went  to  Paris 
and  completed  his  training  under  Wedgwood  and 
Forster.  On  returning  home  he  soon  acquired  a 
name  by  his  engravings,  and  became  in  1832  pro- 
fessor of  engraving  at  the  Antwerp  Academy.  He 
died  in  Paris  in  1862.     Among  his  best  plates  are  : 

Hagar  in  the  TVildemess ;  after  Nave:.     1832. 

The  Saviour  of  the  'World ;  after  Leonardo  da  Vinci. 

Christ  on  the  Cross;  after  Van  Dyck.  (His  chef- 
d'ceuvre.) 

The  Elevation  of  the  Cross;  after  Huberts.  (Unfinished; 
the  etching  only.) 

The  Descent  from  the  Cross  ;  after  Ruiens.  (Unfinished.) 

The  King  of  the  Belgians  ;  after  Wappers.    1834. 

The  Queen  of  the  Belgians  ;  after  Ary  Hcheffer.     1838. 

Cardinal  Sterckx,  Archbishop  of  Mechlin  ;  after  Cels. 

CORRADI,  Konrad,  a  Swiss  landscape  painter 
in  water-colours,  was  born  in  the  early  part  of  the 
19th  century.     He  died  at  Uhwiesen  in  1878. 

CORRADINI,  Babtolommeo,  who  is  known  as 
Fra  Carney  ALE,  was  a  Dominican  monk  living  in 
the  15th  century,  who  painted  somewhat  in  the 
manner  of  Piero  della  Francesca.  He  was  painting 
in  Urbino  in  1456,  since  records  remain  which  prove 
him  to  have  been  then  absolved  from  finishing  a 
picture  for  the  Confraternity  of  Corpus  Cliristi  in 
that  city.  In  1461  he  was  curate  at  San  Cassiano  di 
Cavallino,  near  Urbino,  and  seerns  to  have  lived 
there  up  to  1468.  According  to  Padre  Pungileone 
he  painted  the_^altar-piece  of  San  Bernardino  in  the 
convent  of  that  name  in  Urbino,  in  1472.  He  died 
in  1484.  Vasari  asserts  that  he  taught  Bramante 
the  art  of  perspective.  A  '  St.  Michael  and  the 
Dragon '  in  the  National  Gallery,  and  a  '  Virgin 
and  Child  with  Saints '  in  the  Brera,  Milan,  are 
ascribed  to  him. 

CORRADO,  GlAQUlNTO,  a  Neapolitan  painter,  was 
born  at  Molfetta,  in  1693.  He  studied  in  his  native 
town,  and  afterwards  at  Rome.  In  1753  he  was 
invited  to  Madrid  by  Ferdinand  VI.,  and  succeeded 
Amigoni  as  first  painter  to  the  king.  He  remained 
in  Spain  until  1761,  and  died  at  Naples  in  1765. 
The  Madrid  Gallery  has  fourteen  of  his  works — 3 
allegorical,  2  landscape,  2  classical,  and  the  rest 
sacred  liistorical. 

CORRALES.     See  Martinez  de  los  Cobrales. 

CORREA,  Diego,  a  Spanish  painter,  whose  works 
are  in  the  style  of  the  Florentine  school,  flourished, 
according  to  the  date  on  some  of  his  pictures,  in 
1550.  The  following  works,  his  chief  productions, 
now  in  the  Madrid  Museum,  were  formerly  m  the 
convent  of  the  Bernardines  of  St.  Martin  at  Val  de 
Iglesias : 

Pilate  washing  his  Hands. 
Christ  crowned  with  Thorns. 
Ecce  Homo. 
•  The  Death  of  St.  Bernard. 
The  Last  Judgment. 
Madonna  and  Child  and  St.  Anne. 
St.  Benedict  blessing  St.  Maurus. 
The  Martyrdom  of  St.  Andrew 
The  Resurrection. 
St.  Peter  curing  the  Paralytic. 
Descent  of  the  Holy  Spirit. 
Descent  from  the  Cross. 

The  '  Assumption  of  the  Virgin,'  in  the  same 
gallery,  was  formerly  in  the  church  of  the  As- 


A   BIOGRAPHICAL  DICTIONARY  OF 


sumption  at  Toledo.  The  Dresden  Gallery  has  a 
'  Christ  on  the  Cross '  said  to  be  by  him. 

COBREA,  Marcos,  a  Spanish  painter,  was  a 
scholar  of  Bohadilla,  and  a  member  of  the  Academy 
of  Seville  from  1667  to  1673.  His  subjects  were 
unambitious  ;  he  painted  with  great  care  and  finish 
small  details  of  still  life,  such  as  papers,  books,  &c. 

CORREGGIO,  Antonio  da.    See  Bebnieri. 

CORREGGIO,  Antonio  Allegei  da.     See  Al- 

LEGRI. 

CORREGGIO,  Francesco,  was  a  native  of  Bo- 
logna, and  flourished  about  the  year  1652.  He 
was  a  scholar  of  Francesco  Gessi,  and  painted 
history  with  some  reputation.  His  works  are 
chiefly  confined  to  the  churches  at  Bologna.  In 
San  Procolo  is  a  '  Magdalene  in  the  Desert ;  '  in 
the  Nunziata,  the  '  Madonna  di  Loreto  ; '  and  in 
Santa  Maria  de'  Servi,  the  '  Virgin  and  Infant,  with 
St.  Luke  and  other  Saints.' 

CORRENS,  Erich,  was  bom  at  Cologne  in 
1821,  and  after  studying  jurisprudence  at  Bonn, 
went  to  the  Academy  at  Munich,  and  became  an 
accomplished  portrait  painter  and  lithographer. 
He  died  at  the  latter  city  in  1877.  He  was  well 
known  for  the  elegance  of  his  portraits,  among 
which  those  of  King  Maximilian  of  Bavaria  and 
Queen  Maria,  his  consort,  are  mentioned  as  note- 
worthy. 

CORSO,  Giovanni  Vincenzo,  was  bom  at  Naples 
about  the  year  1490,  and  was  instmcted  by  Amato 
and  Pietro  Perugino.  He  also  studied  the  works 
of  Andrea  Sabbatini  and  Polidoro  da  Caravaggio, 
and  subsequently  went  to  Rome,  and  assisted  Pierino 
del  Vaga.  Most  of  the  works  of  this  artist  in  the 
churches  at  Naples  have  been  damaged  and  re- 
touched. The  best  preserved  are  his  admired 
picture  of  '  Christ  bearing  his  Cross,'  with  many 
figures,  in  the  church  of  San  Domenico  Maggiore, 
and  the  '  Adoration  of  the  Magi,'  in  San  Lorenzo 
Maggiore.     He  died  at  Rome  in  1545. 

CORSO,  Niccol6,  was  a  native  of  Genoa,  and 
flourished  about  the  year  1503,  the  date  inscribed 
on  some  of  his  works.  His  pictures  are  chiefly  m 
the  cloister  and  refectory  of  the  monastery  of  the 
Olivetan  Fathers  at  Quarto,  near  Genoa  ;  the  most 
esteemed  is  a  subject  from  the  life  of  St.  Benedict. 
Soprani  extols  this  painter  for  the  fecundity  of  his 
ideas,  the  fine  expression  of  his  heads,  and,  above 
all,  for  the  vivacity  and  firmness  of  his  colouring, 
which,  if  it  could  be  divested  of  a  little  hardness, 
would  cause  this  artist  to  rank  among  the  ablest  of 
the  Genoese  painters  of  his  time. 

CORT,  CoBNELis,  called  in  Italy  CoBNELio  Fiam- 
MINGO,  an  excellent  engraver,  was  bom  at  Hoorn 
in  Holland,  in  1533  or  1536.  He  was  first  in- 
structed by  Hieronymus  Cock,  for  whom,  in  the 
early  part  of  his  life,  he  executed  several  plates 
after  Rogier  van  der  Weyden,  Michiel  Coxie, 
Frans  Floris,  and  H.  Mostaert,  which  were  pub- 
lished with  the  name  of  his  master.  After  having 
earned  a  very  considerable  reputation  by  these 
plates,  he  went  to  Italy,  and  first  settled  at  Venice, 
where  he  resided  in  the  house  of  Titian,  and  en- 
graved some  of  the  finest  works  of  that  great  painter. 
He  afterwards  removed  to  Rome,  where  he  estab- 
lished a  school  of  line  engraving,  in  which  he 
sought  to  graft  on  the  simple  manner  of  Marcantonio 
a  more  brilliant  and  broader  style.  This  gave  to 
the  art  a  direction  which  it  long  retained,  and 
which  was  adopted  and  extended  in  Italy  by 
Agostino  Carracci,  and  followed  by  Nicolaus  De 
Bruyn  of  Antwerp.     The   art  of  engraving  had 

334 


hitherto  been  nearly  confined  to  small  plates ;  and 
it  was  Cornells  Cort  that  opened  the  way  to  a  more 
important  sphere  of  the  art.  Cort  died  at  Rome 
in  1578.  His  drawing  is  correct  and  tasteful;  and 
his  backgrounds,  particularly  his  landscapes,  are 
managed  with  great  skill  and  finesse.  His  plates 
are  signed  with  C.  C/.,  Com.,  or  Co./.  Heinecken 
has  given  a  complete  catalogue  of  the  works  of 
this  esteemed  artist,  the  merit  of  which  wiU  justify 
our  giving  the  following  ample  list  of  the  most 
interesting : 

PORTRAITS. 
Cornells  Cort ;  engraved  by  himself. 
Henry  II.,  King  of  France  ;  oval. 
Catharine  de'  Medici ;  Queen  of  France. 
Don  Juan  of  Austria  ;  oval,  with  ornameDts.     1578. 
Marcus  Antonius  Moretus  ;  oval. 
Andrea  Alciati ;  oval,  with  ornaments. 
Rogier  van  der  Weyden  ;  painter. 
Theodoor  van  Haarlem  ;  painter. 
Joachim  Dionatensis  ;  painter. 

SUBJECTS   AFTER   HIS   OWN   DESIGNS. 

The  Birth  of  the  Virgin.     156S. 

The  Conception  of  the  Virgin.     1567. 

The  Presentation  in  the  Temple. 

The  Kepose  in  Egypt.     156S. 

The  Holy  Family :  St.  Joseph  presenting  a  Pear  to  the 

Infant. 
The  Last  Supper.    1568.    (He  engraved  this  subject 

twice.) 
A  Crncifii  over  a  Globe,  held  by  two  Angels. 
The  Resurrection.     1569. 

St.  Theodore,  patron  of  Venice,  overcoming  a  Dragon. 
St.  Catharine  crowned  by  Angels.     1575. 
St.  Veredina  kneeling  before  an  Altar. 
Two  Landscapes,  with  Shipwrecks. 

SDBJECTS    AFTEB    FLEMISH     MASTERS    B8F0BB     HB 
WENT   TO    ITALY. 
Adam  and  Eve,  with  the  Serpent ;  afttr  Michiel  Coxie. 
The  Resurrection  ;  after  the  same.     1568. 
The  Descent  of  the  Holy  Ghost ;  after  the  same. 
Christ  triumphant,  with  St.  Peter  and  St.  Paul ;  after 

the  same. 
Four  Plates  of  the  History  of  the  Rich  Man  and  Lazams; 

after  Heemskerk. 
The  Parable  of  the  Vineyard ;  after  the  same. 
Four  Plates  of  the  Parable  of  the  Talents ;  after  th4 

same. 
Six  plates  of  the  History  of  Noah  and  the  Deluge ; 

after  F.  Floris. 
Six  plates  of  the  History  of  Abraham ;  after  the  same. 
Six  plates  of  the  History  of  Jacob  and  Rachel ;  after 

the  same. 
Ten  nlates  of  the  Labours  of  Hercules ;  after  the  same. 
Four  plates  of  the  History  of  Pluto  and  Proserpine  ; 

after  the  same. 
Bacchus  and  Venus ;  after  the  same.     1566. 
The  Immortality  of  Virtue;  emblematical;  after  the 

same.     1564. 
The   Descent  from  the  Cross;  after  Rogier  xan  der 

Weyden. 
St.  Roch  ;  after  J.  Speckart     1567. 
St.  Laurence  ;  after  the  same. 
St.  Dominic  reading ;  after  Bart.  Spranger. 
The  Holy  Family,  with  Angels  ;  after  the  same. 
The  Coronation  of  the  Virgin ;  after  Gilles  Mostaert. 

1565. 
The  Academy  of  Painting;  after  Stradan  ;  fine.    1578. 

eUBJECTS    AFTER    VARIOnS    MASTERS    ENGRAVED     IK 
ITALY. 
After  Titian. 
The  Annunciation. 
Another  Annunciation. 
The  Martyrdom  of  St.  Laurence.     1571. 
The  Trinity  ;  generally  called,  AH  Saints.     1566. 
St.  Jerome  in  the  'Wilderness,  reading. 
St.   Jerome    in    the   Wilderness,  kneeling    before    a 
Crucifix  at  the  entrance  of  a  Cavern ;  In  Venetia. 
Corn.  Cort.f;  scarce.   Not  mentioned  by  Heinecken. 


PAINTERS  AND  ENGRAVERS. 


The  Magdalene ;  half-length. 

The  Magdalene  in  the  Desert,  before  a  Crncifix. 

Tarquin  and  Lucretia.     1571. 

Diana  and  Calisto. 

Prometheus.      1566. 

Kogero  liberating  Angelica  from  the  Dragon. 

After  Girolamo  Mutiano. 

St.  Peter  walking  on  the  Water.     1568. 

Christ  crowned  with  Thorns. 

Christ  bearing  his  Cross. 

The  Descent  from  the  Cross,  with  two  Ladders. 

The  Descent  from  the  Cross,  with  four  Ladders. 

Christ  appearing  to  the  Marys. 

St.  Jerome  in  Meditation. 

A  set  of  seven  Landscapes,  with  Figures,  called  the 
Seven  Penitents  ;  St.  John  the  Baptist,  St.  Mary 
Magdalene,  St.  Jerome,  St.  Onophrius,  St.  Hubert,  St. 
Francis  with  the  Stigmata,  and  St.  Francis  in  devotion. 

After  Giulio  Clovio. 
The  Annmiciation. 

The  Adoration  of  the  Magi,  in  the  form  of  an  Altar. 
The  Virgin  and  Infant ;  half-length. 
Christ  preaching  in  the  Temple. 
The  Baptism  of  Clirist. 
The  Crucifidon  between  the  two  Thieves. 
Another  Crucifixion  ;  a  grand  composition.     1568. 
The  dead  Christ,  with  the  Marys. 
The  Entombment  of  Christ. 
Christ  appearing  to  Mary  Magdalene. 
The  Conversion  of  St.  Paul. 
St.  George  and  the  Dragon. 

After  Taddeo  Zuecaro. 
The  Creation  of  Adam  and  Eve. 
The  Presentation  in  the  Temple. 
The  Nativity ;  a  rich  compo.sition. 
The  Holy  Family,  with  St  John  and  his  Lamb. 
The  Miracle  of  the  Loaves. 
The  Entombment  of  Christ. 
The  Descent  of  the  Holy  Ghost. 
The  Martyrdom  of  St.  Agatha. 

After  Federigo  Zuecaro. 
Moses  and  Aaron  before  Pharaoh.     1567. 
The  Birth  of  the  Virgin.     1578. 
The  Conception  of  the  Virgin. 
The  Annunciation.     1571. 
The  Nativity.    1568. 
The  Adoration  of  the  Magi. 
The  Holy  Family,  n-ith  the  Infant. 
The  FUght  into  Egypt. 
The  Adulteress  before  Christ. 
Christ  tempted  in  the  Wilderness. 
Christ  driving  the  Buyers  and  Sellers  from  the  Temple. 
The  Resurrection  of  Lazarus. 
The  Woman  of  Samaria. 
Christ  on  the  Mount  of  Olives. 
Christ  taken  in  the  Garden. 
The  Death  of  the  Virgin. 
The  Coronation  of  the  Virgin. 
The  Calumny  of  Apelles. 

After  Raphael. 
The  Transfiguration.    1573. 

The  Battle  of  the  Romans,  called  the  Battle  of  the  Ele- 
phants.    {He  engraved  also  a  reverse  of  this  plate.) 
The  Battle  of  Constantino  with  Maxentius. 

SUBJECTS  AFTER  VARIOnS  ITALIAN  MASTERS'. 

Parnassus ;  after  Folidoro  du  Caravayyio. 

The  Adoration  of  the  Shepherds  ;  after  the  same. 

The  Repose  in  Egypt ;  after  B.  Bassano. 

The  Visitation  of  the  Virgm  to  St.  Elizabeth ;  after 

Marco  da  Siena. 
The  Nativity  ;  after  the  same. 

The  Adoration  of  the  Shepherds  ;  after  Paris  Romano. 
The  Holy  Family ;  after  F.  Barocci.     1577. 
The  Baptism  of  Chnst ;  after  F.  Salviati. 
The  Marriage  at  Cana  ;  after  Lorenzo  Sabhatini. 
The  Last  Supper ;  aftei-  Livio  Ayresti. 
The  Stoning  of  Stephen  ;  after  Marcello  Venusii. 
St.  Jerome  penitent ;  after  Riccio  da  Siena. 
St.  Jerome  in   the   Desert,  with   two   Angels ;   after 

Jacobus  Parmtnsis. 
The  Cord  of  St.  Francis  ;  after  Carracci. 


The  Marriage  of  St.  Catharine  ;  after  Correggio. 

St.  Jerome ;  after  the  same. 

St.  Margaret  of  Cortona  ;  after  Tempesta. 

A  Dance  of  Dryads ;  after  II  Rosso. 

The  Three  Fates ;  after  Giulio  Romano 

The  two  Tombs  of  the  Medici ;  after  Michelangelo. 

CORT,  Hendrik  de.  See  De  Cort 
CORTBEMDE,  Balthasar  van,  the  son  of  a 
picture-dealer,  was  a  painter  of  Antwerp,  who  was 
born  m  1612,  married  Ursula,  a  sister  of  Jan  van 
7c7n  ??'^'^'*'^'*  painter,  and  died  between  1663  and 
1670  He  studied  under  Jan  Blanckaert,  and  was 
considered  among  the  better  class  of  the  masters 
of  his  century.  A  'Good  Samaritan 'in  a  land- 
scape by  him  (1647)  is  in  the  Antwerp  Museum. 

CORTE,  Cesaee,  the  son  of  Valerio  Corte,  was 
bom  at  Genoa  in  1550,  and  studied  under  Luca 
Canabiaso.  According  to  Baldinucci,  he  was  one 
of  the  most  noted  portrait  painters  of  his  time :  he 
also  painted  historical  subjects  with  considerable 
success.  He  visited  France,  where  he  was  much 
employed,  and  is  said  by  Baldinucci  to  have  been 
m  England  in  the  reign  of  Queen  Elizabeth,  al- 
though he  is  not  mentioned  in  Lord  Orford's  '  Anec- 
dotes ' ;  he,  however,  painted  that  queen,  and 
several  of  her  court.  His  best  historical  works 
are  at  Genoa.  For  the  church  of  San  Pietro  he 
painted  the  titular  Saint  at  the  feet  of  the  Virgin, 
coloured  with  great  chasteness  and  delicacy ;  for 
San  Francesco,  the  altar-piece  of  the  chapel  of 
Prince  Massa,  representing  Mary  Magdalene  ;  and 
for  the  church  of  Santa  Maria  del  Carmine  two 
pictures  of  St.  Simeon  and  St.  Francis.  He  died  in 
1613.  His  son  Davide,  who  died  in  1657,  was  a 
celebrated  imitator  of  the  old  masters. 

CORTE,  Gabriel  and  Juan  de  la.  See  De  la 
Corte. 

CORTE,  Valeric,  was  bom  at  Pavia  in  1530. 
He  went  to  Venice,  and  under  the  guidance  of  Titian 
became  an  eminent  painter  of  portraits.  He  after- 
wards settled  at  Genoa,  where  he  met  with  great 
encouragement,  but  ruined  himself  by  the  folly  of 
alchemy.     He  died  at  Genoa  in  1580. 

GORTELLINI,    Michele,    who    painted    from 
about  1502  to  1542,  was  a  follower  of  Francia.     A 
'Madonna  enthroned,  with   four   Saints,'   by  him, 
formerly  in  Sant'  Andrea,  is  now  in  the  gallery  at 
Ferrara. 
CORTESE.     See  Courtois. 
CORTICELLI.    See  Lici.mic,  Giovanni  Ant 
CORTONA,  lu  GoBBo  da.     See  Bonzi. 
CORTONA,  Luca  da.     See  Signorelli. 
CORTONA,  Pietro  da.     See  Bebrettini. 
CORVI,  DoMENioo,  an  Italian  painter,  was  bom 
at  Viterbo  in  1721.     He  was  instructed  by  Mancini, 
and  showed  his  great  talent  in  his  chief  work,  'The 
Family  of  Priam  with  the  dead  body  of  Hector.' 
He   was   for  some   time   Director  of  the  Roman 
School  and  the  instructor  of  Cades  and  Camuccini. 
He  died  in  1803. 

CORVINUS,  JoHANN  August,  a  German  en- 
graver, was  bora  in  1682.  He  worked  chiefly  for 
the  booksellers,  and  principally  engraved  views 
and  buildings,  in  a  neat  but  stiff  style.  By 
him  there  is  a  set  of  ornaments  for  ceilings,  after 
designs  by  Carlo  Maria  Pozzi ;  most  of  the  plates 
for  a  work  entitled '  Representatio  Belli  ob  Successio- 
nem  in  Regno  Hispanico,'  published  at  Augsburg, 
are  by  tliis  artist ;  and  several  for  a  book  by  Pfeffel 
on  the  churches  and  monasteries  of  Vienna,  pub- 
lished at  Augsburg,  in  1724-25.  He  died  in  1738. 
COSA,  Diego  de,  a  Spanish  engraver,  who  exe- 

335 


A  BIOGRAPHICAL  DICTIONARY  OF 


cuted  Bome  spirited  plates  in  the  French  style  at 
the  commencement  of  the  18th  century.     Tliere  is 
by  him  in  Luis  de  Salazar's  '  Indice  de  las  Glorias 
de  la  Casa  Farnese,'  1716,  a  plate  representing  the 
arms  of  that  house,  with  four  allegorical  figures. 
COSCI.     See  Balducci,  Giovanni. 
COSIDA,  Geronimo,  a  Spanish  painter  of  good 
family,  flourished  at  Saragossa  early  in  the  16th 
century,    and  was  patronized    by  the  Archbishop 
Don  Fernando  de  Aragon.     His  best  pictures  were 
architectural  decorations.    According  to  Cean  Ber- 
mudez,  his  invention  was  fertile  and  his  colouring 
soft  and  agreeable.     He  was  still  living  in  1572. 
COSIMO,  Andrea  di.     See  Feltrini. 
COSIMO,  PiEEO  DI.     See  Piero  di  Lorenzo. 
COSIMO  DI  LORENZO  FILIPPI.    See  Rosselli. 
COSMATI,   were   a  family   of    mosaicists   and 
architects,  who  lived  at  Rome  during  the  whole  of 
the  13th  century.      Their  works  were  chiefly  exe- 
cuted   for    the   churches    of    Santa    Maria   sopra 
Minvera,  and  Santa  Maria  Maggiore  in  their  native 
city. 
COSME.    See  Tuka. 

COSSA,  Francesco,  (or  del  Cossa,)  an  Italian 
painter  of  the  school  of  Ferrara,  flourished  in  the 
middle  of  the  15th  century.  His  name  first  appears 
in  a  record  of  1456,  which  proves  that  he  was  then 
an  assistant  to  his  father  Christofano  del  Cossa, 
who  was  at  that  time  employed  in  painting  the 
carving  and  statues  on  the  high  altar  in  the  chapel 
of  the  bishop's  palace  at  Ferrara.  He  afterwards 
went  to  Bologna,  where  his  two  masterpieces  still 
remain.  The  first  is  a  canvas  with  the  Virgin  and 
Child  enthroned,  with  two  Saints,  and  a  portrait  of 
Alberto  de'  Catanei,  signed  and  dated  1474,  and 
now  in  the  Gallery.  The  second  is  a  fresco  in  the 
church  of  the  '  Madonna  del  Barracano,'  repre- 
senting the  Virgin  and  Cluild  enthroned,  beneath 
which  are  the  portraits  of  Giovanni  Bentivoglio 
and  Maria  Vinziguerra  ;  it  is  dated  1472.  There 
is  a  fine  picture  of  St.  Vincent  Ferrer  in  the 
National  Gallery,  an  'Annunciation'  at  Dresden, 
and  an  Allegory  at  Berlin. 
COSSALE.     See  Cozzale. 

COSSIAU,  Jan  Joost  van,  (or  Cosziau,)  was  a 
landscape  painter,  who  was  born  near  Breda  in  1654, 
and  died  at  Mentz  in  1732,  although  he  generally 
resided  at  Frankfort.  His  manner  of  treating  his 
landscapes  is  Italian,  and  he  endeavoured  to  imitate 
the  style  of  Gnspard  Poussin.  His  pictures  are  well 
composed,  and  are  enriched  with  buildings  and 
cattle.     We  find  mention  of  the  following  : 

Brunswick.    Gallery.     Two    Landscapes    with    Cattle. 

(Both  dated  1704.) 
Cassel.  Gallery,     Egyptian  Landscape. 

Munich.         Gallery.    A  large  Landscape.     1716. 

COSSIERS,  Jan,  (Cotsiers,  Coutsiers,  or 
Causiers,)  a  son  of  Antonis  Cossiers,  a  painter  in 
tempera,  (who  died  in  1646-47,)  was  born  at 
Antwerp  in  1600.  He  was  a  pupil  of  Cornelis  De 
Vos,  the  elder,  entered  the  Guild  of  St.  Luke  in 
1628-29,  was  dean  thereof  in  1639-40,  and  died 
at  Antwerp  in  1671.  There  are  many  of  his  works 
in  the  churches  in  Flanders ;  they  are  judiciously 
composed,  and  his  attitudes  are  well  chosen  and 
natural.  His  drawing  is  tolerably  correct,  and  his 
colouring  vigorous,  though  a  little  too  brown.  In 
the  back-grounds  of  his  pictures  he  frequently  in- 
troduced architecture,  which  he  treated  in  a  masterly 
manner.  The  following  are  among  his  best  works. 
At  Brussels,  in  the  church  formerly  of  the  Jesuits, 
the  '  Nativity  '  ;  and  at  the  Beguinage,  the  '  Marty r- 

336 


dom  of  St.  Ursula.'  At  Mechlin,  a  grand  com- 
position of  the  '  Crucifixion,'  and  the  '  Presentation 
in  the  Temple.'  In  the  Antwerp  Museum  are  '  The 
Adoration  of  the  Shepherds,'  '  Preparation  for  the 
Flagellation,'  and  three  other  works  by  him  ;  in  the 
Hague  Gallery  is  a  'Triumph  of  Silenus';  in  the 
Madrid  Gallery,  'Prometheus'  and  'Narcissus';  in 
the  Cassel  Gallery, '  An  Old  Beggar-Couple  ' ;  in  the 
Brussels  Gallery,  the  '  Deluge ' ;  and  in  the  Lille 
Museum,  a  '  Miracle  of  St.  Nicholas.' 

COSSIN.     See  Coquin. 

COSSIN,  Louis,  who  was  bom  at  Troyes  in  1633, 
engraved  a  portrait  of  Francois  Chauveau  after 
Claude  Leffevre,  and  also  a  portrait  of  Valentin 
Conrart. 

COSTA,  Francesco,  an  Italian  painter,  chiefly  of 
ornaments  and  perspective,  was  born  at  Genoa  in 
1672.  He  was  a  pupil  of  Gregorio  de'  Ferrari  and 
of  A.  Haflhier,  and  worked  much  in  conjunction 
with  Revello.  He  died  in  1740.  A  '  Landscape 
with  the  Rape  of  Europa,'  by  him,  is  in  the  UfiBzi 
at  Florence. 

COSTA,  Ippolito,  who  was  born  at  Mantua  in 
1506,  was  the  son  of  Lorenzo  Costa.  Although 
not  a  pupil  of  Giulio  Romano,  his  style  closely 
imitated  that  master.  He  died  in  1561.  He  had 
a  brother,  Gibolamo  Costa,  of  whom  he  was  the 
instructor,  as  he  was  also  of  Bernardino  Campi. 

COSTA,  Lorenzo,  '  the  elder,'  was  born  at  Ferrara 
in  1460.  and  is  supposed  to  have  been  the  pupil  of 
either  Tura  or  Cossa.  In  early  life  he  painted 
some  of  the  frescoes  in  the  hall  of  the  Schifanoia, 
belonging  to  Duke  Borso  of  Ferrara.  Costa's  firsi 
visit  to  Bologna  seems  to  have  been  made  in  1480, 
and  he  is  said  to  have  painted  scenes,  drawn  from 
the  'Iliad'  and  Greek  history,  in  the  Bentivoglio 
Palace  in  1483.  The  picture  of  St.  Sebastian,  and 
the  portrait  of  Canon  Vaselli,  in  the  Marescotti 
chapel  in  Santa  Petronia  at  Bologna,  are  of  about 
this  date.  In  1488  he  painted  a  votive  Madonna, 
with  the  likenesses  of  Giovanni  Bentivoglio  and 
his  wife  and  their  eleven  children,  on  the  walls  of 
the  Bentivoglio  chapel  in  San  Giacomo  Maggiore 
at  Bologna;  he  also  executed  on  the  walls  of  the 
same  chapel  the  landscapes  surrounding  an  eques- 
trian figure  of  Annibale  Bentivoglio  ;  and  in  1490 
the  frescoes  there  of  the  '  Triumph  of  Life  and  of 
Death' were  completed.  Between  1490  and  1495 
he  finished  the  'Annunciation'  at  San  Petronio, 
and  in  1492  the  great  '  Madonna  and  Child,  with 
SS.  Sebastian,  James,  Jerome,  and  George,'  over 
the  liigh  altar  of  the  Baciocchi  Oratory  in  the  same 
church.  In  1497  he  painted  the  '  Virgin  and  Child, 
with  four  Saints,'  in  the  Segni  chapel  in  San 
Giovanni  in  Monte,  and  the  '  Glory  of  the  Madonna  ' 
for  the  high  altar  of  the  same  church.  In  the 
Brera,  Milan,  is  an  '  Adoration  of  the  Magi '  of 
1499  ;  and  of  the  same  year  are  the  lunette  frescoes 
in  the  Bentivoglio  chapel,  at  San  Giacomo  Mag- 
giore. A  friendship  existed  between  Francia  and 
Costa  during  the  years  extending  from  1480  to 
1500,  and  their  works  show  the  influence  of  Costa 
upon  the  Bolognese  Francia,  who  maybe  regarded 
as  his  pupil  in  painting.  In  1481  Giovanni  Benti- 
voglio founded  the  Oratory  of  St.  Cecilia,  Bologna, 
and  in  its  decorations  Costa,  Francia,  Cliiodarolo, 
Aspertini,  and,  according  to  Frizzoni  and  Milanese, 
Cesare  Tamaroccio,  all  had  a  sh;ire;  Costa  executing 
two  frescoes — one  of  '  Pope  Urban  instructing  his 
convert  Valerian,'  the  other  of  '  St.  Cecilia  dis- 
tributing her  goods  to  the  poor.'  In  1509,  after 
the  expulsion    of   the    Bentivoglio  family   from 


FRANCESCO  COSSA 


Hanfildyigl photo\  \\'a:io'h:l  Gallery,  London 

ST.  VINCENTIUS  FERRER  (DOMINICAN) 


•r. 

H 

S5 


Q 
"A 
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LORENZO  COSTA 


Alinari  photo] 


\_Bolognii 


THE  MADONNA  AND  CHILD  WITH  THE 
BENTIVOGLIO  FAMILY 


PAINTERS  AND  ENGRAVERS. 


Bologna,  Costa  was  taken  into  the  service  of  the 
Marquis  Francesco  Gonzaga  of  Mantua,  where  he 
remained  until  his  death,  his  chief  works  being  in 
the  palace  of  St.  Sebastian.  Of  other  pictures 
which  he  produced  at  that  time  can  be  mentioned 
a  'Virgin  and  Child  between  two  Saints,'  in  the 
Ferrara  Gallery;  the  'Allegory  of  the  Court  of 
Isabella  of  Este,'  now  in  the  Louvre;  a  small 
diptych  formerly  in  the  possession  of  Sir  Charles 
Eastlake  ;  and  a  '  Madonna  and  Saints,'  of  1525  in 
the  church  of  Sant  Andrea,  Mantua.  Costa  p'ro- 
bably  painted  some  of  the  frescoes  which  adorn  the 
Schalcheria  in  the  castle  of  Mantua.  By  him  we 
have  also  one  engraving,  the  '  Presentation  in  the 
Temple,'  from  the  sketch  for  an  altar-piece  by 
himself,  dated  1602,  the  year  in  which  were  en- 
graved the  two  Saints  by  Francia,  by  whom  Costa 
appears  to  have  been  led  to  engrave  the  plate  in 
question.  Although  much  in  the  style  of  Francia, 
it  is  treated  in  a  freer  and  more  picturesque  manner. 
His  death  took  place  at  Mantua  in  1535.  Of  his 
pictures  the  following  may  be  noted  : 


Berlin. 


Museum, 


Bologna. 

S.  Giacomo 
Maggiore. 

t} 

S.  Cecilia. 

»» 

S.  Petronio. 

n 

» 

J» 

»» 

J» 

8.  Giovanni 

in  Monte. 

Finacoteca. 

Florence. 
London. 

Pitti  Palace. 
Nat.  Gall. 

„  Hampton  Court. 

Mantua. 

S.  Andrea, 

Milan. 
Paris. 

Brera. 
Louvre. 

Pieta.    1504. 

Presentation  in  the  Temple.  1502. 

■Madonna,  adored  by  Giovanni 
Bentivoglio  and  his  Family 
{in  tempera).     1488. 

The  Triumph  of  Life  and  of 
Death  {in  tempera). 

.Vision  of  the  Apocalypse ;  fresco. 

Two  subjects  from  the  Life  of 
St.  Cecilia  ;  frescoes  {the  eight 
other  compartments  painted  by 
Francia  and  his  pupils). 

The  Twelve  Apostles  {in  tempera). 
1495. 

St.  Jerome. 

Martyrdom  of  St.  Sebastian  {some- 
times wrongly  ascribed  to  Cossa). 
j  Virgin  enthroned,  surrounded  by 
(      Saints.     1497. 

St.Petronius  between  SS.  Francis 
and  Dominic.     1502. 

Portrait  of  a  Man  in  a  red  Cap. 

Madonna  and  Child  enthroned, 
with  Angels.     1505. 

Portrait  of  a  Lady,  probably 
Isabella  d'Este,  Marchioness  of 
Mantua. 

Virgin  surrounded  by  Saints. 
1525. 

Adoration  of  the  Magi.     1499. 

Court  of  Isabella  of  Este,  Duchess 
of  Mantua. 
„  „         Mythological  Scene. 

COSTA,  Lorenzo,  '  the  younger,'  who  was  born 
in  1637,  was  the  son  of  Girolamo  Costa,  and  was 
instructed  in  the  art  of  painting  by  his  uncle 
Ippolito.  He  worked  in  concert  with  Taddeo 
Zuccaro  in  the  Belvedere  at  Rome,  about  1560, 
and  died  in  1683. 

COSTA,  ToMMASO,  a  painter  of  perspective  views, 
and  a  pupil  of  Jean  Boularger,  was  born  at  Sassu- 
olo  in  1635.  He  resided  at  Reggio,  and  died  in  1690. 
He  is  represented  in  the  Estense  Gallery,  Modena, 
by  an  exterior  and  an  interior. 

COSTANZI,  Placido,  who  was  born  in  Rome  in 
1 688,  was  a  pupil  of  B.  Luti,  and  painted  historical 
subjects.  The  most  esteemed  of  his  larger  works, 
is  his  '  St.  Camillus,'  in  Santa  Maria  Maddalena  ;  in 
which  he  has  aspired  to  the  imitation  of  Domeni- 
chino.  His  '  Resuscitation  of  Tabitha,'  in  Santa 
Maria  degli  Angeli,  is  the  original  of  a  mosaic  in 
St.  Peter's.  He  also  painted  in  fresco  the  ceilings 
of  the  tribunes  in  Santa  Maria  in  Campo  Marzo  and 


San  Gregorio,  and  was  much  employed  in  painting 
figures  in  the  landscapes  of  other  artists,  particu- 
larly m  those  of  Jan  Trans  van  Bloemen,  called 
Orizonte.  He  died  in  1759.  A  portrait  of  George 
Keith,  Earl  Marischal  of  Scotland,  painted  by  him 
in  Rome  in  1752,  is  in  the  National  Portrait  Gallery 
and  '  St.  Pancras  and  the  Infant  Christ,'  by  him' 
IS  in  the  Dublin  National  Gallery.  ' 

COSTE,  Jean,  a  French  historical  painter,  who 
flourished  in  the  14th  century,  was  the  painter  in 
ordinary  and  favourite  of  King  John.  He  distin- 
tinguished  himself  especially  by  some  paintings  of 
great  merit  which  he  executed  in  oil  at  the  castle 
of  Val-de-Rueil  in  1356.     He  died  in  1391. 

COSTELLO,  LooiSA  Stcart,  the  daughter  of 
Colonel  Costello,  was  born  in  France  in  1799. 
When  about  twenty  years  of  age  she  visited 
London,  and  from  1822  to  1839  exhibited  miniature 
portraits  at  the  Royal  Academy.  She  was  likewise 
an  authoress,  and  published  '  Specimens  of  the 
Early  Poetry  of  France,'  the  'Rose  Garden  of 
Persia,'  and  other  successful  works.  She  died  at 
Boulogne  in  1870. 
COSTER,  Adam  de.  See  De  Coster. 
COSTER,  Anne.  See  Vallayer. 
COSTER,  D.,  was  a  Flemish  engraver,  who  flour- 
ished about  the  year  1700.  He  was  chiefly  em- 
ployed by  the  booksellers;  and,  among  other 
plates,  engraved  a  portrait,  of  Frans  Hals,  the 
painter,  after  Van  Dyck. 

COSWAY,  Maria  Cecilia  Louisa,  whose  maiden 
name   was    Hadheld    and    whose    father    was   a 
Manchester  man,  was  born  at  Florence  in  1759. 
From  a  very  early  age  she  showed  great  powers 
of  drawing,  and  as  a  child  gained  a  silver  medal 
for   proficiency   in  that    art.     In   1778   she    was 
elected  a  member  of  the  Academy  of  Fine  Arts 
in  Florence,  and   was  one  of  the  very  youngest 
members  ever  admitted  into  that  select  society. 
She  was  also  an   excellent  musician,  and  played 
the  organ  at  the  Monastery  of  the  Visitation,  where 
she  had  been  educated.    Her  father  died  in  1778-9, 
and  then  at  the  earnest  recommendation  of  lier 
friend  Angelica  KaufEmann  she  came  to  London 
with    her    mother,   sister   and    brother.     At   Mr. 
Townley's  house  in  Park  Street  she  met  Richard 
Cosway,  who  was  attracted  by  her  unusual  beauty 
and  fell  in  love  with  her.     They  were  married  at 
St.  George's  on  January  18, 1781,  and  Mr.  Townley 
gave  the  bride  away.     She  was  greatly  attached 
to  her  eccentric  husband,  and  they  travelled  on 
the  Continent  very  much  together,  Mr.  Cosway  at 
times  returning  to  England  alone,  and  leaving  his 
wife  in  France  and  Italy  busy  upon  carr3dng  out 
a  scheme  which   interested   her  greatly,  that  of 
founding  a  special   religious   order   for  teaching 
and   attaching   a   high-class  girls'  school   to   the 
convent.     This  scheme  she  started  first  at  Lyons 
under  her  good  friend  Cardinal  Fesch,  and  with 
the  full  approval  and  financial  assistance  of  her 
husband,  but  eventually  she  transfered  it  to  Lodi, 
where,  by  the    aid   of   the  Duke   of  that  place, 
she  obtained  an  old  monastery  which  she  fitted  up 
for  her  purpose.     During  the  life  of  her  only  little 
girl,  who  died  at  the  age  of  six,  Maria  Cosway  was 
in  England,  and  exhibited  many  works  at  the  Royal 
Academy,  painting  miniatures  and  also  works  in  otl 
and  pastel,  and  preparing  illustrations  for  Boydell's 
Shakespeare   Gallery  and   Macklin's   Poets.     She 
also  cleverly  copied  some  of  the  works  of  Correggio 
and  many  of  her  husband's  miniatures.  She  tenderly 
nursed  Richard  Cosway  during  his  mental  disorder 

337 


A  BIOGRAPHICAL  DICTIONAEY  OF 


and  serious  illness,  and  on  his  death  she  returned 
to  her  beloved  Italy  and  settled  down  at  Lodi, 
endowing  the  convent  there  with  her  estate  and 
devising  to  it  all  she  could  bequeath.  The  Em- 
peror Francis  I.  ha\'ing  desired  to  plant  near  to 
Milan  a  branch  house  of  the  well-known  Order 
of  the  Darae  Inglesi,  Mrs.  Cosway  merged  her 
small  creation  into  that  larger  Order  and  benefacted 
the  new  establishment.  In  consideration  of  this 
work  the  Emperor  visited  the  convent  and  created 
its  founder  a  Baroness.  She  died  at  Lodi  in  1838 
and  was  buried  in  the  chapel  of  the  convent,  where 
are  still  preserved  many  interesting  memorials  of 
her  and  of  her  more  celebrated  husband. 

G.C.W. 
COSWAY,  Richard,  an  eminent  miniature 
painter,  was  born  at  Tiverton  in  Devonshire,  _  in 
1742.  He  came  early  to  London,  and  studied 
under  Hudson  and  in  Shipley's  school  ;  he  soon 
distinguished  himself  by  his  drawings  from  the 
antique  in  the  Duke  of  Richmond's  gallery,  which 
Cipriani  and  Bartolozzi  pronounced  admirable. 
In  1766  he  was  a  member  of  the  Incorporated 
Society  of  Artists,  and  in  1769  he  was  admitted  to 
the  Royal  Academy  schools.  In  the  next  year  he 
became  an  Associate ;  in  1771  he  was  elected  a 
Royal  Academician  ;  and  in  1781  he  married  the 
artist  Maria  Hadfield.  He  continued  to  progress 
in  public  favour,  and  for  a  considerable  time  main- 
tained the  ascendency  in  his  particular  branch  of 
art,  miniature,  and  bade  defiance  to  all  attempts  at 
rivalry.  In  his  oil-paintings  he  aimed  at  the 
manner  of  Correggio ;  and  there  are  in  existence 
some  that  for  beauty  of  design  and  sweetness 
of  expression  would  not  discredit  that  honoured 
name.  His  widow  retained  three  till  the  time  of 
her  death.  He  painted  all  the  beauty  and  fashion 
of  his  day :  he  was  particularly  distinguished  by 
the  notice  of  the  Prince  of  Wales,  then  the  leader 
of  the  gay  world,  and  Cosway  painted  him  as  a 
gentleman,  and  not  as  a  coxcomb  or  an  actor. 
Cosway  was  fond  of  collecting  pictures,  drawings, 
prints,  and  other  objects  of  art,  and  his  house  in 
Stratford  Place  was  like  a  dealer's  shop.  He 
died  in  London  in  1821.  His  portrait  of  Gen- 
eral Pasquale  Paoli  is  in  the  Uffizi,  Florence ;  a 
portrait  of  himself  is  in  the  National  Portrait 
Gallery. 

See  '  Richard  Cosway,  his  wife  and  pupils,'  by 
G.  C.  Williamson,  189'7,  for  a  fuU  account  of  his 
life  and  works.     (Bell.)  q  c.  'W 

COSZIAU.     See  Cossiad. 

COT,  Pierre  Augdste,  painter,  bom  at  B^darieux 
(Herault),  February  17,  1837,  was  a  pupil  of  Duret 
and  of  L^on  Cogniet.  He  painted  mythological 
subjects,  and  also  enjoyed  a  considerable  reputation 
for  his  portraits.     He  died  in  July  1883. 

COTAN,  Juan  Sanchez.  See  Sanchez  Cotan. 
COTELLE,  Jean,  '  the  elder,'  a  French  painter 
of  ornament,  who  also  etched,  was  born  at  Meaux 
in  1610.  He  studied  under  L.  Guyot,  and  worked 
largely  for  Simon  Vouet.  He  became  an  Academician 
in  1651,  and  died  in  1676.  There  are  engraved  by 
him  seven  vignettes  for  a  book  of  prayers. 

COTELLE,  Jean,  '  the  younger,'  was  a  painter 
and  engraver,  born  in  Paris  in  1645.  He  received 
his  early  instruction  from  his  father,  Jean  Cotelle, 
and  eventually  visited  Italy.  On  his  return  he 
devoted  himself  to  his  profession,  producing  his- 
torical paintings,  miniatures,  and  occasionally 
etchings.  His  chef-doeuvre  was  the  '  Marriage  at 
Cana  '  painted  in  1681  for  the  cathedral  of  Notre- 
338 


Dame.  There  are  by  him  at  Versailles  several 
views  in  the  gardens  of  that  palace.  He  etched  a 
plate  representing  '  Our  Lord  on  the  Mount  of 
Olives,'  and  a  series  of  seven  scenes  from  the  his- 
tory of  Venus.  He  was  admitted  into  the  Academy 
in  1672,  and  died  at  Villers-sur-Marne  in  1708. 

COTES,  Francis,  an  English  portrait  painter, 
was  born  in  London  in  1726.  He  was  a  scholar  of 
George  Knapton.  Lord  Orford  mentions  some  of 
his  works  in  oil  and  in  crayons,  the  latter  of  which 
he  compares  to  the  portraits  of  Rosalba.  He  died 
in  the  prime  of  life  in  1770.  He  was  an  eminent 
artist  in  crayons,  and  one  of  the  first  members 
of  the  Royal  Academy,  and  also  a  member  of  the 
Incorporated  Society  of  Artists.  At  Greenwich  Hos- 
pital, there  is  a  portrait  by  him  of  Admiral  Lord 
Hawke.  A  portrait  group  of  Mr.  and  Mrs.  Joah 
Bates,  in  the  possession  of  the  Sacred  Harmonic 
Societj',  is  considered  one  of  his  best  works. 

CCf  ES,  Samuel,  born  in  1734,  a  younger  brother 
of  Francis  Cotes,  R.A.,  painted  miniature  portraits 
with  much  success,  and  also  worked  in  crayons. 
He  died  at  Chelsea  in  1818. 

COTIGNOLA,  Bernardino  and  Francesco.  See 
De'  Z.\ganelli. 

COTIGNOLA,  GiROLAMO  Mabchesi  da.  See 
Marchesi. 

COTMAN,  John  Joseph,  an  English  landscape 
painter,  was  the  son  of  John  Sell  Cotman.  He  had 
considerable  talents,  but  owing  to  his  extravagant 
and  eccentric  habits,  he  was  always  in  a  destitute 
condition.     He  died  at  Norwich  in  1878. 

COTMAN,  John  Sell,  who  was  bom  at  Norwich 
in  1782,  was  in  a  great  measure  his  own  instructor 
in  art,  though  he  owed  much  to  the  kind  patronage 
of  Dr.  Munro.  In  1800  he  came  to  London,  where 
he  resided,  and  exhibited  at  the  Royal  Academy 
until  1806,  when  he  returned  to  Norwich.  In  the 
following  year  he  was  made  a  member  and  secre- 
tary of  the  Norwich  Society  of  Artists,  and  in  one 
single  year,  1808,  he  sent  no  less  than  sixty-seven 
works  to  the  exhibition.  After  various  journeys 
in  Normandy,  and  a  residence  of  some  years  in 
Yarmouth,  Cotman  was,  in  1834,  appointed  Pro- 
fessor of  Drawing  in  King's  College  School, 
London.  He  held  this  post  until  his  death,  which 
occurred  in  London  in  1842.  Besides  his  land- 
scapes and  marine  pieces  in  oil  and  water-colours, 
he  executed  numerous  engravings  of  architecture 
both  of  England  and  of  Normandy.  He  published 
in  1812,  '  Miscellaneous  Etchings  of  Architectural 
Antiquities  in  Yorkshire' ;  in  1812-17,  'Architectural 
Antiquities  of  Norfolk  ' ;  and  in  1813-16,  '  Sepul- 
chral Brasses  in  Norfolk ;  '  all  of  which  works 
were  republished  with  large  additions  under  the 
following  titles  —  'Architectural  Etchings  of  Old 
English  Buildings,'  2  vols,  folio,  240  plates ; 
'  Sepulchral  Brasses  of  Norfolk  and  Suffolk,'  2 
vols.,  170  plates  ;  'Liber  Studiorum,'  48  plates.  In 
1817  he  went  to  France,  and  collected  the  materi- 
als for  his  magnificent  work,  '  Architectural  Anti- 
quities of  Normandy,'  100  plates,  in  2  vols,  folio, 
with  descriptive  letter-press  by  Dawson  Turner  of 
Yarmouth,  which  was  published  in  1822.  In  1825 
he  was  elected  an  Associate  of  the  Water-colour 
Society,  and  frequently  sent  works  to  their  ex- 
hibitions. Ten  water-colour  drawings  by  him  are 
in  the  South  Kensington  Museum. 

COTMAN,  Miles  Edmund,  born  in  1811,  was  the 
eldest  son  of  John  Sell  Cotman.  He  was  brought 
up  as  an  artist,  exhibited  landscapes  in  Suffolk 
Street  and  at  the  Academy   and  in  1842  succeeded 


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PAINTERS  AND  ENGRAVERS. 


his  father  as  drawing-master  at  King's  Colleo-e 
London.     He  died  in  1858.  °  ' 

COTTA,  Jacopo,  an  Italian  engraver,  flourished 
about  the  year  1600.  His  name  is  afiBied  to  an 
etching  representing  the  'Meeting  of  Isaac  and 
Rebeliah,'  after  Storer.  It  is  executed  in  a  poor 
tasteless  style,  and  incorrectly  drawn.  ' 

COTTARD,  Pierre,  according  to  Florent  Le 
Comte,  was  an  architect,  who  flourished  in  the  17th 
century,  and  etched  some  plates  of  vases  and 
ornaments,  which  are  executed  in  a  bold,  coarse 
style.  We  have  from  his  hand  a  set  of  four  views 
of  Bordeaux,  and  a  series  of  designs  published  in 
1686.      His  prints  are  usually  marked  with  the 


monogram 


A' 


COTTRAU,  F^Lix,  a  French  painter,  was  born 
in  Paris  in  1799,  and  died  in  the  same  city  in  1852. 
He  painted  landscapes,  portraits,  and  Scriptural 
and  fancy  subjects. 

COUASKI,  Alexander,  a  Polish  portrait  painter, 
was  bom  in  Poland  in  1736.  He  was  a  page  in  the 
court  of  the  last  King  of  Poland,  but  was  after- 
wards sent  to  France  to  study  under  Vien.  On  the 
outbreak  of  the  French  Revolution  he  was  painter 
to  the  Prince  de  Conde.  He  executed  portraits 
chiefly  in  pastel,  and  among  them  those  of  the 
Empress  Catharine  II.  of  Russia,  the  Count  d' Artois, 
the  Prince  de  Conde,  the  Princess  de  Lamballe,  and 
Madame  Elizabeth.  Marie  Antoinette,  however,  he 
portrayed  in  distemper,  and  the  repetitions  he  made 
of  this  picture  are  stated  to  have  procured  him  a 
subsistence  for  a  lengthened  period.  He  also 
sketched  Louis  XVII.  Many  of  his  paintings  are 
wrongly  ascribed  to  other  masters.  He  died  at 
Sainte-Perine  in  1829. 

CODCHfi,  Jacques,  a  French  line-engraver,  was 
bom  at  Abbeville  in  1759.  He  became  a  pupil  of 
Le  Vasseur  and  of  Aliamet,  and  was  subsequently 
appointed  engraver  to  the  Duke  of  Orleans.  The 
date  of  his  death  is  not  known.  He  owed  much  of 
his  reputation  to  his  having  been  the  moving  spirit 
in  the  publication  of  the  work  known  as  the 
'  Galerie  du  Palais  Royal.'  This  was  issued  in  part 
in  1786  under  Couche's  direction,  but  the  Revolu- 
tion having  stopped  the  work,  Couch6  some  years 
afterwards  associated  himself  with  Laporte  and 
Bouquet,  and  brought  his  task  to  a  successful 
termination  in  1808.  He  engraved  the  following 
eighteen  plates  in  that  collection : 

The  Young  Martyr ;  after  Cagnacci. 

The  Death  of  Actaeon  ;  after  Titian. 

The  Holy  Family;  after  Annibale  Carracci. 

The  Return  from  the  Chase ;  after  Wmmerman. 

Hawking ;  after  the  same. 

The  Judgment  of  Paris ;  after  Rubens. 

Eal  Champetre  ;  after  Watteau. 

The  Lady  in  the  Balcony  ;  after  Gerard  Dm. 

The  Concert  of  Cats ;  after  C.  Brueghel. 

The  Bevel ;  after  Cerqvo::i. 

Hercules  and  Wisdom ;  after  Paolo  Veronese. 

Mars  and  Venus  ;  after  the  same. 

Honour ;  after  the  same. 

Dislike  ;  after  the  same. 

A  Circumcision  ;  after  Bassano. 

The  Martyr  ;  after  Chiido  Canlassi. 

St.  John  preaching  in  the  "Wilderness ;  after  Albano. 

COUCHfi,  FEANgois  Louis,  an^  engraver,  the 
son  and  pupil  of  Jacques  Couche,  was  born  in 
Paris  in  1782.  He  produced  in  an  indifferent 
manner  a  number  of  plates  representing  the  battles 
of  the  first  Napoleon^on  one  of  which  is  the 
date  1812.  They  were  in  some  cases  finished  by 
z  2 


Bovinet.  At  one  period  of  his  life  he  was  keeping 
a  shop  as  a  publisher  in  the  Rue  Hautefeuille 
in  Paris.  His  engravings  are  generally  marked 
Couche  Jils — sometimes  simply  Couche,  and  in  one 
case  Fran(;ois  Couche.  He  engraved  some  of  the 
plates  for  the  'Galerie  du  Palais  Royal,'  and  for 
Denon's  great  work  on  Egypt.  He  died  in  Paris 
in  1849. 

COUDER,  Jean  Remy  Alexandre,  who  was  bom 
in  Paris  in  1808,  and  studied  under  Picot,  became 
famous  for  his  pictures  of  still-life,  fruit,  and 
flowers,  and  also  genre  subjects.  He  died  at 
Baran  (Oise)  in  1879. 

CODDER,  Louis  Charles  Auguste,  an  historical 
painter,  was  born  in  Paris  in  1790.  He  studied 
under  David  and  Regnault,  and  brought'  himself 
prominently  into  notice  with  his  prize  painting  in 
1817,  representing  the  'Levite  of  Mount  Ephraim.' 
But  the  promise  then  given  was  not  redeemed  by 
the  works  that  immediately  followed  ;  and  even 
his  ceihng  decoration  in  the  Gallery  of  Apollo  in 
the  Louvre  shows  that  he  was  still  restrained  by 
classical  fetters.  He  repaired  to  Munich  in  1833 
to  study  the  progress  of  fresco  painting  there ; 
and  on  his  return  to  Paris  painted  in  the  churches 
of  St.  Gervais,  Notre-Dame-de-Lorette,  St.  Ger- 
main-l'Auxerrois,  and  in  the  Madeleine.  These 
works  show  care  and  skill,  but  are  lacking  in  the 
most  necessary  element, — religious  feeling.  His 
historical  works,  executed  at  Versailles,  are  much 
more  successful.  There  he  had  a  better  field  for 
showing  his  skill  in  drawing  and  as  a  colourist,  as 
well  as  for  proving  that  he  possessed  dramatic 
force,  and  the  power  of  rendering  individual 
characteristics.  It  is  on  the  merit  of  these  pro- 
ductions that  his  i^eal  claim  to  fame  is  based.  His 
Francis  I.  is  now  at  Fontainebleau.  Amongst 
other  paintings  may  be  mentioned  also  '  The  Taking 
of  Lerida,'  and  '  The  Opening  of  the  States-General 
in  1789.'     He  died  in  Paris  in  1873. 

COUDRES.     See  Descoudres. 

COULET,  Anne  Philiberte,  a  French  engraver, 
was  born  in  Paris  in  1736,  and  was  a  pupil  of 
Aliamet  and  of  Lempereur.  She  engraved  several 
landscapes  and  sea  pieces,  especially  those  of 
Joseph  Vemet,  which  are  charmingly  etched  and 
finished  with  the  graver.  She  was  received  into 
the  Academy  in  1770,  and  became  a  member  of 
the  Academy  of  Vienna  in  1771.  The  date  of  her 
death  is  not  known. 

We  have  by  her  the  following  engravings : 

"  Rendez-vous  h  la  Colonne ; "  after  Berchem. 

The  Departure  of  the  Boat ;  after  Joseph  Vemet. 

The  Fortunate  Passage  ;  after  the  same. 

The  Fine  Afternoon  ;  after  the  same. 

The  Fishermen  throwing  their  Nets  ;  after  the  samt. 

The  Neapolitan  Fishermen  ;  after  the  same. 

Rural  Pleasures  ;  after  Loutheriourg. 

The  Pleasure  Party  in  the  Country  ;  after  the  same. 

Going  to  Market ;  after  Van  Goyen. 

COUPE,  Antoinb  Jean  Baptiste,  a  French  line- 
engraver,  was  born  in  Paris  in  1784.  He  was  a 
pupil  of  Roger.  He  engraved  'Prayer  to  the 
Madonna,'  after  Mme.  Haudebourt-Lescot,  and 
many  vignettes  for  the  works  of  Voltaire,  Rous- 
seau, &c.     It  is  not  known  when  he  died. 

COURBE,  WiLBRODB  Magloire  Nicolas,  was  a 
French  engraver  but  little  known,  who  lived  at 
the  close  of  the  18th  century.  He  appears  to  have 
devoted  himself  chiefly  to  religious  subjects,  and 
was  the  principal  engraver  of  the  collection  of 
portraits  of  the  members  of  the  National  Assembly 
of  1789,  known  as  the  "Collection  Dejabin." 

339 


A  BIOGRAPHICAL  DICTIONARY  OF 


CODP.BES,  Jean  de,  was  a  French  engraver, 
born  about  the  year  1592.  He  was  principally 
employed  for  the  booksellers,  but  worked  both  in 
England  and  in  Spain.  We  have  by  him  the  por- 
traits of  Sir  Philip  Sidney  and  Mary,  Countess  of 
Pembroke. 

CODBBET,  GusTAVE,  a  distinguished  French 
painter,  was  bom  at  Ornans  (Doubs),  on  the  10th 
of  June,  1819.  He  began  the  study  of  jurispru- 
dence, but  at  the  age  of  twenty  abandoned  it  for 
painting,  and  repaired  to  Paris,  where  he  eventu- 
ally selected  the  school  of  David  d'Angers.  The 
ill-success  that  befell  his  early  pictures  only  acted 
as  a  stimulus,  and  led  him  to  a  constant  and 
close  study  of  nature ;  and  he  selected  intention- 
ally, with  a  view  to  bring  the  feeling  of  the 
public  more  into  harmonj"  with  his  own  concep- 
tions, the  details  of  everj--day  life  as  the  field  in 
which  to  exhibit  his  talents.  Being  really  gifted 
he  could  not  fail  in  the  result  to  command  atten- 
tion. In  fact  it  was  not  long  before  one  of  his 
works,  entitled  'The  Conflagration,'  aroused  the 
notice  of  the  authorities,  who  condemned  it  as 
dangerous  to  the  public  welfare.  His  figure  sub- 
jects were  brilliant  in  colour  and  rich  in  tone,  but 
were  ill  drawn  and  badly  grouped.  Other  works  of 
his  again,  though  powerfully  painted,  were  marred 
by  the  selection  of  subjects  with  a  vicious  tend- 
ency. His  landscapes,  however,  being  from  the 
nature  of  their  subject  free  from  any  such  defects, 
could  not  fail,  distinguished  as  they  were  bj-  truth, 
simplicity,  and  very  careful  finish,  to  add  consider- 
ably to  his  reputation.  Nor  were  his  animal  pieces 
less  pleasing,  while  his  portraits  gave  proof  in  a 
still  further  direction  of  his  being  possessed  of  very 
remarkable  talent.  The  unfavourable  art  criticisms 
which  his  early  works  had  encountered  appear  to 
have  embittered  his  mind  to  some  extent  against 
his  brother  artists,  and  at  the  Exhibitions  of  1855 
and  1867  he  had  a  separate  building  constructed 
to  display  his  own  pictures.  '  A  Stormy  Sea,'  ('La 
Vague,')  exhibited  in  the  Salon  of  1870,  was  bought 
for  the  Luxembourg,  and  was  exhibited  at  the  Paris 
Exhibition  in  1878.  In  1871  his  democratic  tend- 
encies led  him  to  join  the  Communists,  who  en- 
trusted him  with  the  charge  of  the  Museums.  He 
took  a  leading  part  in  the  destruction  of  the 
Column  in  the  Place  Vendome.  On  the  fall  of  the 
Commune  he  was  condemned  to  six  months'  im- 
prisonment, as  well  as  to  the  payment  of  an  in- 
demnity for  his  share  in  the  affair  of  the  Place 
Vendome.  He  eventually  retired  into  Switzerland, 
where  after  a  painful  illness  he  died  at  La  Tour-de- 
Peilz,  near  Vevay,  on  the  31st  December,  1877.  An 
exhibition  of  the  works  of  the  Painter  of  Ornans, 
as  Courbet  delighted  to  be  called,  was  held  in  Paris 
in  1882.  The  Louvre  has  now  the  '  Interment  at 
Ornans '  (painted  in  1850),  the  ■  Combat  de  Cerfs  ' 
(1861),  the  '  Hallali  du  Cerf'  (1867),  the  '  Homme 
a  la  ceinture  de  cuir,'  the  '  Homme  blesse,'  and 
'  La  Vague  '  (1870).  His  other  principal  paintings 
were : 

The  ■Woman  -n-ith  the  Parrot.     1866. 

Afternoon  at  Ornans.     (In  the  Lille  Museum.)     1849. 

Landscape,  near  Honfieur.     {In  the  Lille  Museum.) 

The  Stone-breakers.    1850. 

Stags  in  Spring-time.    {In  the  Marseilles  Museum.) 

La  Fileuse.     1S5S. 

Lee  Baigneuses.     1S53. 

The  Painter's  Studio.     1855. 

LaKemise  anx  Chevreuils.     1866. 

La  Sieste  pendant  la  saison  des  f  oins.     1869. 

CODKT,  Jean,  called  Vigier,  was  one  of  the 
340 


most  skilful  of  the  enamel  painters  who  flourished 
at  Limoges  in  the  16th  century.  His  works  are 
very  rare  and  bear  the  dates  1556  and  1557  only. 
Almost  all  are  painted  in  grisaille  on  a  black 
ground,  and  heightened  with  gold,  the  flesh  being 
tinted.  Some  of  his  enamels  are  in  the  Louvre. 
He  died  about  1583,  being  then  not  less  than  72 
years  of  age.  Much  confusion  has  existed  on 
account  of  the  similarity  of  the  names  and  mono- 
grams, and  often  of  the  works,  between  this  artist, 
Jean  de  Court,  and  Jean  Courteys. 

COURT,  Jean  de,  an  enamel  painter  of  Limoges, 
succeeded  Francois  Clouet  as  painter  to  the  king 
in  1572,  and  was  in  turn  succeeded  by  his  son, 
Charles  de  Court,  in  1584  or  1589.  Jean  de  Court 
painted  in  1574  a  portrait  of  Henry  III.,  then  Duke 
of  Anjou. 

COURT,  Joseph  D^sir^,  a  painter  of  historical 
subjects  and  portraits,  was  bom  at  Rouen  in 
1797.  He  became  a  pupil  at  the  Ecole  des  Beanx- 
Arts  under  Gros,  and  after  carrying  ofE  the  princi- 
pal honours  there  pursued  his  studies  still  further 
at  Rome.  Hiarh  expectations  were  formed  of  him 
when  he  exhibited  in  1827  'The  Death  of  Caesar," 
a  work  manifesting  earnest  thought,  and  a  con- 
scientious handling  of  the  facts  of  history.  This 
is  now  preserved  in  the  Louvre.  Having  shown 
himself  in  this  and  other  works  a  vigorous  painter, 
capable  of  seizing  a  subject  with  a  masterly  grasp, 
and  having  also  in  the  region  of  portrait  painting 
proved  himself  an  artist  of  no  common  merit,  he 
eventually  dissipated  his  talents  in  the  production 
of  a  series  of  empty  official  pictures  painted  by 
order  of  Louis  Phihppe.  He  died  in  Paris  in  1866. 
The  Bordeaux  Museum  has  a  portrait  of  Henri 
Fonfrede  by  him  ;  that  of  Lyons,  a  '  Scene  in  the 
Deluge ' ;  that  of  Rouen, '  Boissy-d'Anglas  saluting 
the  head  of  Fdraud.' 

COURTEYS,  Jean,  an  enamel  painter  of  Limoges, 
who  died  in  1586,  was  possibly  a  younger  brother 
of  Pierre  Courteys.  To  him  are  ascribed  the 
numerous  works  signed  /.  C,  but  M.  Darcel  is 
inclined  to  believe  that  these  are  by  Jean  de 
Court. 

COURTEYS.  Martial,  a  painter  in  enamel,  who 
was  working  at  Limoges  in  1579-80,  was  distin- 
guished by  his  vivid  colouring.  Until  lately  he 
was  known  only  by  a  round  dish  with  '  Moses 
striking  the  Rock,'  formerly  in  the  Debruge  Col- 
lection, and  now  in  that  of  Mr.  Addington.  He 
belonged  to  the  school  of  Jean  Courteys,  and  was 
perhaps  his  son. 

COURTEYS,  Pierre,  one  of  the  best  enamel 
painters  of  Limoges,  and  an  excellent  designer  and 
colourist,  was  probably  a  disciple  of  Pierre  Rey- 
mond.  The  dates  affixed  to  his  works  range  from 
1550  to  1568.  In  1559  he  executed  for  the  facade 
of  the  chSteau  of  Madrid,  built  by  Francis  I.  and 
Henry  II.  in  the  Bois  de  Boulogne,  near  Paris, 
twelve  oval  medallions  cf  the  Virtues  and  the  gods 
of  Olympus,  with  figures  the  size  of  life.  Nine 
of  these  are  now  in  the  H5tel  de  Cluny,  and  three 
are  in  England.  They  are  the  largest  enamels 
wliich  have  ever  been  made  at  Limoges.  Courteys 
is  supposed  to  have  died  in  1602.  Many  of  his 
works  are  in  the  Louvre. 

COURTIN,  Jacques  Fran(;'ois,  a  French  his- 
torical painter,  was  bom  at  Sens  in  1672.  He  was 
a  pupil  of  Louis  de  Boullongne,  and  painted  the 
'mai'  offered  to  the  cathedral  of  Notre-Dame  by 
the  goldsmiths  of  Paris  in  1707,  the  subject  being 
'  St.  Paul  preaching  at  Troas.'    He  died  in  Paris  in 


PAINTERS  AND  ENURAVERS. 


1752.     There  is  a  'Dead  Christ'  by  him  in  the 
Brussels  Gallery. 

COURTOIS,  GniLLAUME,  commonly  known  as 
GuGLiELMO  CoRTESE,  and  also  called  Bodrqdignon, 
(or  II  Bobgognone,)  was  the  brother  of  Jacques 
Courtois,  and  was  born  at  St.  Hippolyte  in  1628. 
He  went  to  Rome  whilst  he  was  young,  and  became 
a  scholar  of  Pietro  da  Cortona.  He  did  not  how- 
ever follow  the  style  of  that  master,  but  appears  to 
have  preferred  that  of  Carlo  Maratti,  in  his  com- 
positions and  the  expression  of  his  heads.  He 
sometimes  seems  to  have  wished  to  resemble 
Guercino  in  the  strength  of  his  relief,  and  his 
azure  backgrounds.  His  works  most  deserving  of 
notice  are  a  'Madonna,  and  several  Saints,'  in  the 
Trinita  di  Rellegrini ;  '  Joshua's  great  Battle,'  in 
the  palace  of  the  Quirinal,  in  which  he  was  assisted 
by  his  brother  ;  and  the  '  Crucifixion  of  St.  Andrew,' 
in  Sant'  Andrea  a  Monte  Cavallo,  Rome.  The 
'Offering  of  Isaac'  by  him  is  in  the  Dresden 
Gallery,  and  a  picture  of  'The  Burial  of  the  Dead 
during  the  Plague  in  Rome'  in  the  Brussels 
Gallery.  He  died  at  Rome  in  1679.  His  engrav- 
ings are  now  become  excessively  rare.  They  are 
not  so  highly  finished  as  those  of  his  brother  Jacques. 
We  have  by  him  the  following  plates : 

A  Burial  during  the  Plague. 
The  Presentation  in  the  Temple. 
The  Kesurrection  of  Lazarus. 

COURTOIS,  Jacqdes,  commonly  called  by  the 
Italians  GiACOMO  Cortese,  and  II  Borgognone,  also 
known  as  Bourgdignon,  was  born  at  St.  Hippol3de, 
in  Franche-Comte,  in  1621.  He  was  the  son  of  an 
obscure  painter,  Jean  Courtois,  who  taught  him  the 
rudiments  of  design.  At  the  age  of  fifteen  he  went 
to  Milan,  where  he  formed  an  intimacy  with  a 
French  officer,  who  prevailed  on  him  to  enter  the 
army,  which  he  followed  for  some  time  ;  designing 
on  every  occasion  the  marches,  the  attacks,  and 
skirmishes  of  which  he  was  a  witness.  After  three 
years'  sers'ice  he  quitted  the  military  profession 
and  returned  to  painting.  At  Bologna  he  became 
acquainted  with  Guido  and  Albani,  and  his  inti- 
macy with  those  distinguished  artists  was  of  great 
advantage  to  his  progress.  He  at  length  visited 
Rome,  where  his  first  attempts  were  some  historical 
works,  amongst  which  were  '  The  Magdalen  at  the 
feet  of  Christ,'  in  the  church  of  Santa  Maria  ;  and 
in  the  Gesu,  the  '  Murder  of  the  Innocents  '  and  the 
'  Adoration  of  the  Magi.'  The  natural  bent  of  his 
genius  discovered  itself  on  his  seeing  the  admirable 
'  Battle  of  Constantine '  by  Giulio  Romano,  in  the 
Vatican ;  and  from  that  time  he  devoted  himself 
to  a  branch  of  the  art  which  he  carried  to  a  per- 
fection unknown  before  or  after  him.  Michelangelo 
delle  Battaglie,  having  seen  some  of  his  works,  with 
a  liberality  not  always  found  in  a  rival,  was  one  of 
the  most  zealous  pubHshers  of  his  fame.  Whilst 
he  was  in  full  possession  of  popular  esteem,  a  cir- 
cumstance occurred  which  occasioned  his  retirement 
from  the  world.  His  wife,  with  whom  he  had  not 
lived  on  the  best  terms,  died  suddenly  ;  and  male- 
volence suspected  and  accused  him  of  having 
poisoned  her.  This  cruel  accusation  determined 
him  to  abandon  society,  and  he  took  refuge  with 
the  Jesuits,  of  which  body  he  soon  afterwards 
became  a  member.  But  neither  the  gloom  of  a 
monastery,  nor  the  affliction  of  his  mind,  could 
subdue  his  ardour  or  impoverish  his  ta)ent,  which 
he  continued  to  exercise  till  his  death,  which 
occurred  at  Rome  in  1676. 

The  battle-pieces  of  Borgognone  are  composed 


Petersburg. 
Vienna. 


Hermitage. 
GaUeiy. 


with  a  fire  and  painted  with  a  vigour  peculiar  to 
himself.  His  touch  is  admirable  and  of  extra- 
ordinary facility,  his  figures  and  horses  are  drawn 
with  all  the  spirit  requisite  in  the  attacks  of  the 
fiercest  combatants  fighting  for  honour  and  for 
life  ;  and  (as  Lanzi  expresses  it)  "  in  beholding  his 
pictures  we  seem  to  hear  the  shouts  of  war,  the 
neighing  of  the  horses,  and  the  cries  of  the 
wounded."  It  is  to  be  lamented  that  many  of  his 
works  have  blackened  since  they  were  painted. 
The  following  are  some  of  the  best  of  his  works 
which  are  frequently  met  with  in  public  galleries : 

Augsburg.      Gallery.     Battle-pieces. 
Berlin.  Museum.     Rocky  lja.nAsc!tpe(  formerly  assign- 

ed to  Salvator  Rosa). 
Cassel.  Gallery.      Battle-pieces. 

Dresden.  Gallery.  Battle-pieces  (four). 
Edinburgh.  Gallery.  Battle-pieces  {three). 
Florence.         TTffizi.  Portrait  of  himself. 

J,  „  Battle-pieces  (four). 

„  Fitti  Pal.   Battle-piece. 

Hague.  Gallery.      Cavalry  Combat. 

Munich.        Pinakothek.  A  Battle-field  after  the  fight. 

„  „  A  Battle-piece. 

Madrid.  Gallery.      Battle-pieces  (two). 

Paris.  Louvre.       Cavalry  Combat  near  a  Bridge. 

„  „  Troops  marching. 

„  „  Cavalry  combat. 

„  „  Cavalry  encounter. 

Cuirassiers  and  Turkish  Cavalry. 
Studies  for  Battle-pieces. 
Battle-pieces  (three). 

We  have  by  this  artist  some  etchings  of  battles, 
executed  with  uncommon  spirit,  and  with  a  masterly 
effect  of  light  and  shadow.  They  are  described 
in  Robert-Dumesnil's  '  Peintre-Graveur,'  vol.  i., 
and  among  them  are  the  following : 

A  set  of  Eight  Battles  ;  Gtac.  Cortese  fee, 
A  set  of  Four  Battles ;  J.  C. 

COURTOIS,  Jean.     See  Courteys. 

COURTOIS,  Marie,  a  French  miniature  painter 
of  considerable  ability,  was  a  pupil  of  Le  Brun. 
She  was  born  about  the  year  1656,  married  in  1675 
Marc  Nattier,  the  portrait  painter,  and  died  in  Paris 
in  170.S. 

COURTOIS,  Pierre  Francois,  was  a  French 
engraver,  who  was  born  in  Paris  in  1736.  He 
engraved  two  plates  from  the  designs  of  Saint- 
Aubin,  but  died  at  Rochefort  in  1763. 

COUSE,  J.,  was  an  artist  who,  if  not  a  native  of 
England,  at  least  resided  here  about  the  year 
1750.  He  engraved  a  view  of  Berkeley  Castle,  from 
a  drawing  by  the  Countess  of  Berkeley,  and  some 
other  prints,  which  are  neatly  executed,  and  possesB 
considerable  merit. 

COUSEN,  Charles,  a  younger  brother  of  John 
Cousgn,  and  also  a  line  engraver,  worked  chiefly 
for  the  'Art  Journal,' for  which  he  executed  up- 
wards of  fifty  plates.  In  early  life  he  painted  a 
few  pictures,  and  exhibited  once,  in  1848,  at  the 
Society  of  British  Artists.  He,  however,  devoted 
his  attention  to  engraving,  and  produced  his  first 
important  plates  for  the  Vernon  and  Turner  Gal- 
leries. He  continued  his  work  to  an  advanced 
age,  his  last  engraving,  '  Catching  a  Mermaid,' 
after  J.  C.  Hook,  appearing  a  year  before  his  death, 
which  took  place  in  November  1889.  The  follow- 
ing are  his  principal  plates : 

The  Opening  of  the  "Walhalla.\ 

Bacchus  and  Ariadne.  {After  Turner:  for  the 

The  Loretto  Necklace.  I       Turner  Gallery. 

Abingdon.  / 

A  Fete  Champfitre  ;  after  T.  Stothard.  )  For  the  Vernon 

The  Bathers ;  after  the  same.  j        Gallery. 

341 


A  BIOGRAPHICAL  DICTIONARY  OF 


A  Persian  Warrior;  after  W.  Etti/.         \  Forthe  Vernon 

The  Ruined  Temple  ;"a;Verii;.  U'Hsort.i       Gallerv. 

The  Hooka  Badar.   l     After  jnikie :  for  the  Tf'ilkie 

A  Group  of  Camels.  3  Gallery. 

The  Pasture— Osborne ;  after  T.  Sidney  Cooper. 

The  Queen's  Horses  ;  after  J.  F.  Herrrng. 

The  Home  Expected  ;  after  fT'.  Mulready. 

Rustic  Civility ;  after  W.  Collins. 

Hulks;  after  Frout. 

The  Cornfield  ;  after  Constable. 

Primrose  Gatherers ;  after  Birket  Foster. 

Touchstone  and  Audrey  ;  after  J.  Pettie. 

The  Mountain  Shepherd;  after  J.  Linnell. 

Showery  Weather ;  after  Vicat  Cole. 

Oxen  at  the  Tank — Geneva;  after  Sir  E.  Landseer. 

The  Shepherd;  after  Rosa  Bonheur. 

Their  only  Harvest ;  after  Colin  Hunter. 

Home  again;  after  E.  A.  H'aterlow. 

COUSEN,  John,  a  landscape  engraver,  was  bom 
at  Bradford  in  Yorkshire  in  1804,  and  was  articled 
to  John  Scott,  the  animal  engraver.  His  larger 
works  after  Turner,  Stanfield,  and  others  are  of 
great  excellence,  but  his  exquisite  taste  is  best 
displayed  in  his  smaller  plates  after  Turner,  especi- 
ally those  in  the  '  Rivers  of  France,'  which  are  full 
of  poetic  feeling.  He  died  at  South  Norwood  in 
1880,  but  had  retired  from  the  practice  of  his  art 
some  sixteen  years  before,  in  consequence  of  ill- 
health. 

His  more  important  works  are : 

Mercury  and  Herse  ;  after  Turner. 

Towing  the  Victory  into  Gibraltar ;  after  Stanfield 

The  Moruing  after  the  Wreck ;  after  the  same. 

Calais  Pier :  Fishing-Boats  off  Calais.  "| 

Snow-Storm  :  Hannibal  and  his  Army 

crossing  the  Alps. 
Peace :  Burial  at  Sea  of  the  Body  of 

Sir  David  Wilkie. 
St.  Michael's  Mount,  Cornwall. 
The  Battle  of  Trafalgar ;  after  Stanfield. 
The  Canal  of  the  Giudecca  and  Church 
of  the  Jesuits,  Venice  ;  after  the  same. 
The  Old  Pier  at  Littlehampton ;  after 

Sir  A.  W.  Callcott. 
Returning  from  Market ;  after  the  same. 
Cattle :  Early  Morning  on  the  Cumber-    - 

land  HUls  ;  after  T.  Sidney  Cooper. 
The    Mountain   Torrent;    after  Sir  E. 

landseer. 
The  Cover  Side  ;  after  F.  R.  Lee. 
Rest  in  the  Desert ;  after  W.  J.  Mailer. 
A  Woodland  View;  after  Sir  D.  Wilkie.  , 

COUSIN,  Jean,  may  be  regarded  as  the  founder 
of  the  French  school,  as  previous  to  his  time  the 
painters  of  his  country  confined  themselves  to 
portrait  painting.  He  was  born  at  Soucy,  near 
Sens,  in  1500  or  1501,  and  died  about  1589,  at  all 
events  before  1593.  Little  is  known  of  his  life, 
with  certainty,  except  that  his  first  occupation  was 
glass-painting  at  Sens,  and  that  he  afterwards 
established  himself  as  a  goldsmith  at  Paris.  His 
principal  work,  as  a  painter,  is  the  '  Last  Judgment,' 
which  was  formerly  in  the  convent  of  the  Minimes 
at  Vincennes,  but  is  now  in  the  Louvre.  It  is  a 
grand  composition,  and  the  design  is  more  in  the 
taste  of  Parmegiano  than  the  French  style.  He 
was  a  sculptor  as  well  as  a  painter,  but  he  excelled 
especially  as  a  painter  upon  glass.  He  was  in 
every  respect  superior  to  his  rival,  Jean  Duvet. 
As  a  painter  on  glass,  the  windows  of  the  Sainte- 
Chapelle  at  Vincennes  are  his  best  works.  They 
represent  the  'Annunciation,'  the  '  Approach  of  the 
Last  Judgment,'  and  full-length  portraits  of  Francis 
I.  and  Henry  II.  Lenoir  regards  these  magnificent 
windows  as  the  finest  monuments  of  painting  upon 
glass  which   exist  in  France.     He   also   painted 

342 


After  Turner: 

for  the  Tur<7er 

Gallery. 


For  the 
Vernon 
Gallery. 


windows  in  the  Cathedral  at  Sens  with  the  Legend 
of  St.  Eutropius,  dated  1530,  and  others  in  the 
ChSteau  of  Anet  and  elsewhere.  The  windows 
which  Cousin  painted  for  the  church  of  St.  Gervais 
at  Paris  were  destroyed  about  1775.  A  picture  of 
the  '  Descent  from  the  Cross,'  bearing  date  1523, 
in  the  Museum  at  Mentz,  and  other  subject  pic- 
tures, are  attributed  to  him  ;  and  there  also  exist 
records  of  several  family  portraits  by  him  :  but 
the  painting  in  the  Louvre  is  the  only  known 
authentic  work  by  his  hand.  It  has  been  engraved 
by  Pieter  De  Jode  the  elder.  Various  miniatures 
in  books,  in  the  Bibliotheque  Nationale,  Paris,  and 
elsewhere,  are  said  to  be  by  Cousin,  who  was  also 
an  engraver  on  metal,  and  has  left  etchings  of  the 
'  Annunciation,'  the  '  Holy  Family,'  the  '  Descent 
from  the  Cross,'  the  '  Conversion  of  St.  Paul,' 
'  Bacchus  and  the  Vintage,'  and  '  A  Man  holding  a 
tablet.'  But  it  is  by  his  designs  for  woodcuts, 
some  of  which  he  himself  engraved,  that  Cousin  is 
now  best  known.  The  most  important  of  these  are 
the  designs  which  he  made  for  the  Bible  published 
by  Jean  Le  Clerc  in  1596  ;  the '  Entree  de  Henri  II. 
a  Paris,'  1549  ;  the  '  Entree  de  Henri  II.  et  Catherine 
de  Medicis  a  Rouen,'  1551 ;  the '  ^loge  et  Tombeau 
de  Henri  II.,'  1560;  the 'Livrede  CoutumesdeSens,' 
1551 ;  the  '  Vsaige  et  description  de  I'Holometre,' 
1555 ;  the  '  Songe  de  Poliphile,'  1561  ;  and  the 
'  Metamorphoses  '  and  '  Epistres  '  of  Ovid  of  1566 
and  1571.  In  1560  he  published  his  '  Livre  de  Per- 
spective,' and  in  1571  his  'Livre  de  Pourtraicture,' 
which  treats  of  the  proportions  of  the  human  figure, 
and  displays  considerable  knowledge. 

,M.  Ambroise  Firmin-Didot  published  in  1872  an 
'Etude  sur  Jean  Cousin,' which  is  very  complete 
and  full  of  interest,  and  in  1873  a  folio  '  Eecueil 
des  (Euvres  choisies  de  Jean  Cousin.' 
CODSINET,  Catherine  "k.    See  Lemperkub. 
COUSINS,  Henky,  the  brother  of  Samuel  Cousins, 
was  also  an  engraver,  and  practised  in  London.    He 
engraved  many  portraits  in  mezzotint,  and  some 
other   plates ;   among   them   '  Refreshment,'  after 
Landseer;  'Prayer,' after  Sant ;  '  The  Infant  Shake- 
speare,' after  Romney ;  and  '  Home  of  the  Home- 
less,' after  T.  Faed.     He  died  at  Dorking  in  1864. 
COUSINS,   Samuel,    mezzotint   engraver,    was 
born  at  Exeter,   May  9,   1801,  and  received   his 
early  education  in  his  native  city.     He  is  said  to 
have  astonished  his  friends  while  still  a  child  by 
the  truth  and  spirit  of  the  portraits  he  was  con-' 
stantly  drawing  in  pencil.     At  the  age  of  eleven 
he  gained  a  silver  palette  from  the  Society  of  Arts 
for  a  pencil  copy  of  James  Heath's  plate  of  the 
'Good  Shepherd,'  after  MuriUo,  and  in  the  follow- 
ing year  won  the    Society's  silver  medal.     His 
vocation  was   determined   by  a   chance   meeting 
with  the  late  Sir  Thomas  Dyke  Acland,  who  saw  the 
boy  sketching  outside  a  printseller's    window   in 
Exeter.     Recognizing  the  precocious  talent  of  the 
copyist,  he  helped  hira  to  London,  where  he  was 
apprenticed  to  S.  W.  Reynolds.     After  working  as 
an  apprentice  for  seven  years.  Cousins  remained 
with    Reynolds    four   years    as    assistant,    and   a 
few  plates  of  this  date  bear  the  joint  signature 
of  master  and  pupil.     Cousins'   first  independent 
work  was  a  commission  from  Sir  T.  Dyke  Acland 
for  a  plate  after  Lawrence's  group  of  Lady  Acland 
and  her  children.     Lawrence  v.-as  so  pleased  with 
the  result  that  he  wished   to  engage  the  young 
engraver  to  work  exclusively  for  him.     This,  how- 
ever. Cousins  would  not  agree  to.     He,  however^ 
undertook  a  second  plate    after    Lawrence,  the 


PAINTERS  AND  ENGRAVERS. 


famous  '  Master  Lambton,'  which  at  once  secured 
his  reputation.  In  1835  he  was  elected  associate 
engraver  of  the  Royal  Academy,  and  in  1855  a 
Royal  Academician.  About  1872,  being  then  over 
seventy  years  old,  Cousins  determined  to  retire 
from  his  profession.  After  a  short  term  of  idleness 
however,  he  again  took  up  the  graver,  and  to  this 
late  period  of  his  life  belong  such  masterpieces  a-a 
the  'Age  of  Innocence,'  'Penelope  Booth  by,'  'Sim- 
plicity,' and  other  plates  after  Sir  Joshua,  'Miss 
Rich,'  after  Hogarth,  and  'Cherry  Ripe,'  after 
Millais.  During  his  long  career  he  had  amassed  a 
fortune  much  in  excess  of  his  modest  needs,  and 
about  ten  years  before  his  death  he  made  a  generous 
donation  of  £15,000  to  the  Royal  Academy,  to  be 
used  as  a  fund  for  pensioning  destitute  artists. 
In  1880  he  retired  from  the  Academy.  He  died 
in  London,  May  7,  1887.  Some  years  before  he  had 
presented  to  the  British  Museum  a  (then)  complete 
set  of  impressions  from  his  plates,  containing  some 
very  rare  states.  His  <euvre  consists  in  all  of  about 
two  hundred  plates,  of  which  the  following  are 
famous  examples : 

Prince  Metternieh  ;  after  Lawrence.    1827. 

Pius  VII.  ;  after  the  same. 

Duke  of  Wellington ;  after  the  same.     1S2S. 

Sir  Astley  Cooper  ;  after  the  same. 

Lady  Grey  and  Children ;  after  the  same. 

Miss  Peel ;  after  the  same. 

Lady  Grosvenor ;  after  the  same. 

William  "Wilberforce ;  after  the  same, 

Bolton  Abbey  ;  after  Landseer. 

The  Abercorn  Family  ;  after  the  same. 

The  Queen  ;  after  the  same. 

Return  from  Hawking  ;  after  the  same. 

The  Queen  receiving  the  Sacrament ;  after  the  same. 

Christ  weeping  over  Jerusalem  ;  after  Sir  C.  Eastlake. 

Shakespeare;  after  the  Chioulos portrait. 

The  Order  of  Release  ;  after  Milluis, 

The  Minuet ;  after  the  same. 

Yes  or  No  ?  after  the  same. 

Yes !  after  the  same. 

No  !  after  the  same. 

Pomona  ;  after  the  same. 

Marie  Antoinette  in  the  Temple  ;  after  E.  31.  Ward. 

Miss  Bowles  ;  after  EeynoUs.     1874. 

Lady  C.  Montagu  ;  after  the  same. 

Sylvia  ;  after  the  same. 

Hon.  Anne  Bingham  ;  after  the  same, 

Lavinia  ;  after  the  same. 

Princess  Sophia  of  Gloucester  ;  after  the  same. 

Duchess  of  Rutland ;  after  the  same. 

COUSSIN,  Hardouin,  was  a  French  engraver, 
bom  at  Aix  in  1709,  who,  according  to  Basan,  was 
resident  at  that  place  in  1760.  He  engraved  at 
Lyons  several  plates  after  Puget,  Rembrandt,  and 
others.  Nagler  states  that  the  name  H.  Cottssin 
is  found  on  some  mezzotints  which  appear  to  be 
the. work  of  an  earlier  artist. 

COUSTAIN,  Pierre,  was  a  painter  and  sculptor 
at  the  Court  of  Philip  the  Good.  His  name  occurs 
in  the  records  of  the  brotherhood  of  St.  Luke  at 
Bruges  in  the  year  1450  as  Painter  Royal. 

COUTAN,  Amable  Paul,  was  a  French  historical 
painter,  born  in  Paris  in  1792.  He  studied  under 
Gros,  and  obtaining  the  Academy  pension  was  thus 
enabled  later  on  to  improve  himself  at  Rome.  Re- 
turning to  his  native  country  he  produced  works, 
representing  chiefly  classical  and  mythological  sub- 
jects, which  realized  considerable  prices.  He  took 
a  part  also  in  the  labour  of  decorating  with  religious 
subjects  the  church  of  Notre-Dame-de-Lorette.  He 
died  in  Paris  in  18,37. 

COUTANT,  Jean  Louis  Denis,  a  French  en- 
graver, born  at  Argenteuil  in  1776,  was  a  scholar 


of  Mechel  of  Basle.  Among  his  principal  works 
are  the  plates  for  the  great  work  on  Egypt,  for  the 
travels  of  Baron  von  Humboldt  in  the  Cordilleiras, 
for  the  fossil  bones  of  Cuvier,  for  the  'Anatomy  of 
the  Brain'  by  Langenbeck,  and  for  Freycinet's 
'Voyage  round  the  World.'  The  date  of  his  death 
has  not  been  ascertained. 

COUTELLIER, ,  a  French  engraver  of  the 

latter  part  of  the  18th  century,  is  known  by  his 
theatrical  portraits,  the  best  of  which  are  those  of 
Mdlle.  Olivier  as  Cherubino,  and  Mdlle.  Contat  aa 
Suzanne  in  the  '  Mariage  de  Figaro.' 

COUTURE,  Thomas,  a  French  historical  and 
genre  painter,  was  bom  at  Senhs  (Oise)  in  1815.  He 
studied  under  Gros  and  Paul  Delarocbe,  and  in  1837 
obtained  the  second  'Grand  Prix  de  Rome.'  His 
first  appearance  at  the  Salon  was  in  1840,  when  he 
exhibited  'A  young  Venetian  after  an  Orgy.'  In 
1847  appeared  the  picture  (now  in  the  Luxembourg) 
on  which  his  fame  chiefly  rests,  '  The  Romans  in 
the  Decadence  of  the  Empire.'  He  obtained  medals 
m  1844, 1847,  and  1855,  and  the  Legion  of  Honour 
m  1848.  He  decorated  the  Chapel  of  the  Virgin  in 
the  church  of  St.  Eustache,  Paris.  Couture  did  not 
live  on  terms  of  amity  with  the  art  world,  as  he  be- 
came involved  in  disputes,  carried  on  with  consider- 
able warmth,  as  to  the  relation  of  his  art  with  that 
of  the  French  classical  school.  He  died  at  Villiers- 
le-Bel  in  1879.  Besides  the  works  already  named, 
the  following  are  among  his  chief  productions  : 
Joconde.     1844. 

The  Love  of  Money.    1844.    (Toulouse  Museum.) 
The  Falconer.     1855. 
Voluntary  Enlisting. 
Baptism  of  the  Prmce  Imperial. 
Damocles.    1872. 

COUVAY.  Jean,  a  French  engraver,  was  bom  at 
Aries  in  1622.  He  worked  almost  entirely  with 
the  graver,  with  an  easy  but  delicate  touch,  his 
style  in  some  points  resembling  that  of  Villamena. 
He  sometimes  marked  his  plates    c-rf, 

We  have  by  him  the  following  out  of  numerous 
cuts  : 

Louis  XrV.  on  Horseback,  preceded  by  Fame  ;  after  S. 
Bourdon. 

The  Virgin  and  Child  ;  after  Raphael. 

St,  John  in  the  Desert ;  after  the  same. 

St.  Benedict,  tempted  by  the  Devil,  presenting  a 
Cruciijx ;  after  Guercino. 

The  Virgin  ;  after  Blanchard. 

A  Magdalen  ;  half-length  ;  after  Lebrun. 

The  Ascension  ;  after  J.  Stella. 

The  Martyrdom  of  St.  Bartholomew  ;  after  Foussin. 

Mary,  Queen  of  Scots  ;  her  execution  seen  through  the 
window. 

A  set  of  small  prints,  called  '  Les  Tableaux  de  la  Peni- 
tence ' ;  after  J.  Chanveau. 

Portrait  of  Nicolas  Sevin  ;  after  Van  Mol. 

COUVERCHEL,  Alfred,  was  born  at  Marseille- 
le-Petit  in  1834.  He  studied  under  Picot  and 
Horace  Vernet.  He  made  some  advances  in  his 
master's  footsteps,  and  gained  a  certain  ease  and 
freedom,  but  was  unable  to  liberate  himself  from 
a  tendency  to  rawness  in  his  colouring,  a  fault 
which  is  apparent  in  his  '  Battle  of  Iklagenta,' 
painted  in  1861.     He  died  at  Croissy  in  1867. 

COUWENBERG,  Abraham  Johannes,  a  Dutch 
landscape  painter,  was  born  at  Delft  in  1806,  and 
died  at  Arnhem  in  1844. 

COUWENBERG,  Christiaen  van.     See  Kou- 

WENBEBG. 

COUWENBERG,  Henbicus  Wilhelmus,  a  Dutch 
line-engraver   and   draughtsman,   the   brother    of 

343 


A  BIOGRAPHICAL  DICTIONARY  OF 


Abraham  Johannes  Couwenberg,  was  bom  at  the 
Hague  in  1814,  and  died  at  Amsterdam  in  1845. 
He  was  a  pupil  of  F.  L.  Huygens  and  of  Taurel. 
Besides  engraving  some  portraits,  he  began  a  plate 
of  'Mignon  and  her  Father,'  after  Ao'  Scheffer, 
which  was  finished  by  Alphonse  Francois,  and 
another  after  G.  Dou's  '  Menagere  HoUandaise,' 
which  was  completed  by  J.  W.  Kaiser. 

COVYN,  Reinier  and  Isrel,  were  two  brothers, 
who  were  natives  of  Brabant,  and  flourished  at 
Dordrecht  about  the  middle  of  the  seventeenth 
century.  The  elder,  Eeinier,  painted  market  women, 
with  dead  game,  vegetables,  flowers,  fruit,  &c.  A 
landscape,  by  him,  is  in  the  Brunswick  Gallery. 
Isrel,  the  younger,  attempted  history,  but  was  more 
successful  in  portraits.  Neither  of  them  went 
beyond  mediocrity. 

COWEN,  William,  was  a  landscape  painter,  who 
exhibited  views  in  Ireland  at  the  British  Institution 
in  1823,  and  sent  landscape  scenes  in  Switzerland, 
Italy,  and  France  to  the  Academ_v  until  1839.  In 
1824  he  published  a  series  of  six  Italian  and  Swiss 
views,  and  in  1848  '  Six  Weeks  in  Corsica,'  with 
etchings  by  himself. 

COWPER,  Douglas,  was  born  at  Gibraltar 
in  1817.  When  seventeen  years  of  age  he  won 
from  his  parents — who  were  unwilling  to  allow 
him  to  become  a  painter  —  a  reluctant  consent 
to  his  leaving  home,  and  making  his  way  to 
London,  he  obtained  admission  to  the  Royal 
Academy  schools,  and  soon  carried  off  the  silver 
medal  for  the  best  copy  in  painting.  His  first 
exhibited  works,  produced  when  only  twenty 
years  of  age,  were  a  portrait  and  the  '  Last  Inter- 
view,' followed  in  1838  by  '  Shylock,  Antonio 
and  Bassanio,'  and  in  1839  by  his  master-piece, 
'Othello  relating  his  Adventures.'  He  exhibited 
no  more  at  the  Academy,  and  he  painted  but  five 
more  pictures,  four  of  which  he  sent  to  the  Suffolk 
Street  Gallery.  He  died  in  Guernsey  in  1839,  at 
the  early  age  of  twenty-two,  having  lived  only 
just  long  enough  to  justify  his  own  determination 
to  be  an  artist,  and  to  show  the  world  what  great 
things  he  might  have  done. 

COX,  David,  an  eminent  landscape  painter  both 
in  water-colours  and  in  oil,  was  born  at  Deritend, 
Birmingham,  on  the  29th  of  April,  1783.  As  a 
boy,  he  was  taught  to  wield  the  large  hammer  used 
in  his  father's  trade,  that  of  a  whitesmith  ;  but,  as 
his  mother  feared  he  was  too  delicate  for  this  work, 
he  was  apprenticed  in  1798  to  a  maker  of  lockets 
and  brooches,  which  he  adorned  with  miniature 
designs.  He  studied  drawing  at  a  night  school 
kept  by  Mr.  Joseph  Barker  (9.  c).  He  was,  how- 
ever, not  very  long  engaged  in  this  field  of  industry, 
for  his  master  died  soon  after  he  was  apprenticed. 
He  next  obtained  employment  as  a  colour-grinder 
to  the  scene-painters  of  the  Birmingham  Theatre, 
then  under  the  management  of  the  elder  Macready. 
From  this  subordinate  post  he  very  soon  rose 
to  assist  in  the  painting  of  scenes,  and  on  one 
occasion  designed  and  executed  the  entire  scenery 
for  a  new  play  about  to  be  produced.  On  the  public 
announcement  of  the  piece,  however,  he  was  disap- 
pointed at  seeing  the  whole  credit  of  his  share  in 
its  production  given  to  an  imaginary  artist  of 
London  fame,  and  remonstrated  against  being 
thus  robbed  of  his  well-earned  honours.  Cox 
did  not  remain  much  longer  connected  with  the 
management  of  the  Birmingham  and  Leicester 
theatres.  In  1804  he  came  to  London,  and  for  a 
time  obtained  employment  in  the  scenic  depart- 
344 


ment  at  Astley's  Theatre,  but  only  as  a  temporary 
resource  till  other  arrangements  more  suited  to  his 
habits,  which  were  of  a  homely  turn,  could  be 
made.  In  London  he  received  a  few  lessons  in 
water-colour  painting  from  John  Varley.  Shortly 
after,  he  retired  into  private  life,  and  made  a 
scanty  income  by  teaching  drawing,  principally  at 
schools,  and  by  making  sketches,  which  he  sold 
for  a  few  shillings  each,  but  which  are  now  worth 
more  than  as  many  pounds.  At  length  a  wealthy 
patron  appeared  who  sought  him  out  in  his  humble 
retreat  at  Dulwich,  and  from  this  point  his  fortunes 
began  to  move  in  advance.  His  pupils  increased 
in  number,  and  in  remunerativeness,  and  his 
sketches  began  to  command  higher  prices.  In 
1805  he  took  his  first  trip  into  North  Wales,  and 
visited  some  of  the  most  romantic  spots  of  the 
Principality,  which  was  ever  afterwards  his 
favourite  haunt. 

David  Cox  was  elected  a  member  of  the  Society 
of  Painters  in  Water-Colours  in  1813,  and  in  the 
year  following  he  was  appointed  a  teacher  at  the 
Military  College  at  Farnham.  This  occupation, 
however,  did  not  suit  him,  and,  probably  for  the 
sake  of  the  surrounding  scenery,  he  removed  to 
Hereford  in  1814,  where  he  was  drawing-master 
in  a  ladies'  school,  and  in  the  same  year  published 
a  '  Treatise  on  Landscape  Painting  and  Effect  in 
Water-Colours."  He  returned  again  to  London  in 
1827,  but  finally  retired  to  Harborne,  near  Birming- 
ham, in  1841,  where  he  resided  until  his  death, 
which  occurred  on  the  7th  of  June,  1859. 

Although  best  known  by  his  water-colour  draw- 
ings, David  Cox  painted  also  in  oil.  He  first 
began  to  use  this  medium  in  1839,  in  which  year 
he  received  some  lessons  from  William  Miiller. 
The  total  number  of  his  oil  pictures  has  been 
estimated  by  competent  judges  at  a  little  over  one 
hundred,  of  which  fifty-seven  were  exhibited  at 
Liverpool  in  1875.  Several  of  them  were  sold  in 
the  Gillot  sale  in  1872  for  very  large  amounts. 
His  best  works  in  oil,  and  the  dates  at  which  they 
were  executed,  are  as  follow; 

Outskirts  of  a  Wood.     1843. 

Washing  Day.    1843. 

Caer  Cennen  Castle.     1S44. 

Tale  of  Clwyd.     1S46  and  1S48. 

Peace  and  War.     1846. 

Lancaster  Castle.     1846. 

Old  Mill  at  Bettws.     1S47.     {Bury  Art  Gallery.) 

Counting  the  Flock.     1847. 

Changing  Pasture.    1847.    (Birmingham  Art  Gallery.) 

Collecting  the  Flocks.     1848. 

Gtoing  to  the  Hayfield.     1S19. 

The  Skylark.     1849. 

The  Welsh  Funeral.    1850. 

Rhyl  Sands.     1854-5.     (Birmingham  Art  Gallery.) 

Skirts  of  the  Forest.  1855-6.  (Birmingham  Art  Gallery .) 

The  finest  among  the  innumerable  drawings 
which  David  Cox  produced  in  the  course  of  his 
fifty  years'  practice  of  art  may  also  here  be 
mentioned : 

Cader  Idris.    1828. 

Lancaster  Sands.     1835. 

Ulverstone  Sands.     1835. 

Hardwick  Hall  (three  interior  viem).     1839. 

The  Stabble-field  with  Gleaners.    1843. 

Bolsover  Castle.     1843. 

The  Flood  at  Corwen.     1846. 

The  Outskirts  of  a  Forest.     1846. 

Caer  Cennen  Castle  (the  '  Rain  Cloud').    1847. 

Windsor  Park.     1846. 

Bolton  Abbey.     1847. 

The  Skylark.     1848. 


I 


PAINTERS  AND  ENQRAVEES. 


The  "Welsh  Funeral.     1850. 

Broom  Gatherers  on  Chat  Moss.     1S54. 

Peat  Gatherers  returning  from  the  Moors.    1856 

The  Falls  of  the  Llugwy.     1859. 

Besides  several '  Hayfield  '  and  '  Harvest '  subjects, 
full  of  atmosphere  and  summer  sunshine. 

David  Cox  was  the  true  child  of  nature.  There 
was  a  native  simplicity  ia  his  character,  and  a 
masculine  vigour  about  his  touch,  which  have 
never  been  surpassed  ;  and  his  efEects,  whether 
of  mountain  or  dell  or  fruitful  plain,  of  foam- 
ing torrent  or  meandering  stream,  such  as  so 
grandly  diversify  the  scenery  of  this  favoured 
isle,  were  always  striking,  and  often  imposing, 
though  they  never  overstepped  the  modesty  of 
nature. 

Wales  was  the  country  above  all  others  which 
Cox  loved,  and  in  the  neighbourhood  of  Bettws-y- 
coed  he  worked  for  years.  "  The  little  inn  there, 
'  The  Oak,'  (writes  the  author  of  '  Our  Living 
Painters,'  in  1859,)  is  indeed  a  classic  spot,  and 
troops  of  painters  now  flock  thither  in  the  season, 
sit  in  the  parlour  whose  wall  David  Cox  has  him- 
self decorated  in  fresco,  and  with  pipe,  and  jug, 
and  talk  while  the  long  summer  twilights  pleasantly 
away."  There  he  painted  for  the  '  Royal  Oak  '  the 
sign-board  which  in  1880  became  the  subject  of  a 
law-suit,  which  happily  ended  in  the  picture  re- 
maining in  the  inn  for  which  it  was  intended. 

Forty -two  drawings  by  David  Cox  were  be- 
queathed to  the  British  Museum  by  Mr.  John 
Henderson  in  1878,  and  there  are  twenty-two  in  the 
South  Kensington  Museum,  but  most  of  them  are 
comparatively  unimportant.  Eighteen  exaujples 
were  exhibited  at  the  Manchester  Art  Treasures 
Exhibition  in  1857,  upwards  of  twenty  in  the 
International  Exhibition  of  186'2,  and  thirty-two 
in  the  Leeds  Exhibition  of  1868.  Special  exhi- 
bitions of  his  works  were  held  at  Hampstead  in 
1858,  at  the  German  Gallery  in  London  in  1859, 
at  Manchester  in  1870,  and  at  the  Liverpool  Art 
Club  in  1875.  Out  of  this  last  gathering  arose  the 
project  of  a  Cox  '  Liber  Studiorum,'  in  which  the 
plates  were  to  have  been  engraved  by  the  painter's 
friend  Edward  RadclyflEe,  but  the  death  of  the 
engraver  caused  the  work  to  be  abandoned  when 
only  three  plates — '  Dudley  Castle,'  the  '  Outskirts 
of  a  Forest,'  and  'Bala  Lake,' — had  been  completed. 
An  exhibition  of  nearly  five  hundred  pictures 
and  drawings  by  Cox  was  held  in  the  Birmingham 
Corporation  Art  Gallery  in  1890.  This  Gallery 
has  a  collection  of  thirty-five  landscapes  in  oil  by 
Cox  which  were  bequeathed  by  Mr.  J.  H.  Nettlefold. 
There  are  also  some  good  examples  in  the  Bury 
Art  Gallery. 

A  '  Memoir  of  David  Cox '  by  Mr.  Neal  Solly  was 
published  in  1875,  and  a  '  Biography  of  David  Cox ' 
by  William  Hall  in  1881. 

COX,  David,  the  younger,  the  only  child  of 
David  Cox  the  elder,  was  born  at  Dulwich  in  1808. 
He  was  a  pupil  and  imitator  of  his  father.  Though 
a  good  master,  and  socially  a  well-known  figure, 
he  never  attained  to  much  reputation  as  an  artist. 
He  first  exhibited  at  the  Royal  Academy  in  1827. 
There  is  one  water-colour  drawing  by  him  in  the 
Victoria  and  Albert  Museum.  From  1841  to  18-16 
he  was  a  member  of  the  New  Society  of  Water- 
Colour  Painters.  In  1848  he  was  elected  an 
Associate  Exhibitor  of  the  Society  of  Painters  in 
Water-Colours.  He  resided  for  tlie  greater  part 
of  his  life  in  London.  He  died  at  Streatham  Hill, 
December  6,  1885. 


COXIE,  MicHiEL  VAN,  (CocxiE,  CoxciE,  Coxis, 
CoxciEN  or  CoxcYEN,)  a  Flemish  painter,  was  bom  at 
Mechlin  in  1499.  He  was  first  instructed  by  his 
father,  Michiel  van  Coxie  the  elder,  and  afterwards 
at  Brussels  by  Barend  van  Orley,  with  whom  he 
visited  Rome,  and  studied  especially  the  works  of 
Raphael.  Indeed,  his  almost  servile  imitation  of 
that  master  procured  for  him  later  the  appellation 
of  the  Flemish  Raphael.  His  talents  brought  him 
soon  into  notice,  so  that  he  was  engaged  for  the 
execution  of  several  important  works  in  that  city, 
and  when  he  became  acquainted  with  Vasari,  he 
had  already  painted  two  chapels  in  Santa  Maria 
deir  Anima.  On  his  return  to  Flanders  he  was,  in 
1539,  received  a  member  of  the  Guild  of  St.  Luke 
at  Mechlin,  and  came  to  be  much  employed.  There 
are  many  of  his  works  in  the  churches  of  Brussels 
and  Antwerp  that  establish  the  real  worth  of  his 
talents.  He  also  painted  several  large  works  for 
the  Emperor  Charles  V.  and  for  Philiji  II.,  King  of 
Spain,  by  whom  he  was  chosen  court  painter.  He 
died  at  Mechlin  in  1592.  The  following  are  his 
most  important  works  : 

Antwerp.    Museum.      Martyrdom  of  St.  Sebastian.   1575. 
>.  ),  Martyrdom  of  St.  George. 

"  >,  Martyrdom  of  St.  Margaret. 

!.  „  The  Triumph  of  Christ. 

Berlin.  Gallery.     The  Adoration  of  the  L  amb. 

„  „  The  Almighty. 

{Farts  of  the  altar-piece  hy  the  Van 
Eycks  at  Ghent,  ivhirh  was  copied 
by  him  for  Philip  II.  of  Spain. 
The  rest  of  the  copy  15  in  the 
Munich  Gallery,  ajid  in  St.Baw 
at  Ghent.) 
Bruges.        Ch.  of  the     St.  Francis  Xavier  preaching   to 

Jesuits.        the  Heathen. 
Brussels.      Miiseum.      The  Last  Supper. 
i>  „  Death  of  the  Virgin. 

)>  ■>  Christ  derided  by  the  Jews. 

„  S.  Gudule.    The  Resurrection  of  Lazarus. 

„  „  Christ   washing   the   feet  of  tha 

Apostles. 
»  „  Christ  on  the  Mount  of  Olives. 

Ghent.         iS.  James.     The  Nativity. 

„  „  Christ  on  the  Cross  between  the 

two  Thieves. 
,.  „  Resurrection  of  Christ. 

Madrid.         Gallery.      St.  Cecilia. 

„  „  Scenes  from  the  Life  of  the  Virgin. 

Petersburg.  Hermitage.  The  Annunciation. 
Vienna.         Gallery.     Virgin  and  Child. 

He  also  designed  32  subjects  from  the  Fable  of 
Cupid  and  Psyche,  which  are  amongst  his  best 
works.  They  have  been  engraved  by  Agostino 
Veneziano  and  the  Master  of  the  Die.  In  con- 
junction with  Barend  van  Orley,  he  undertook  the 
direction  of  the  execution  of  some  tapestry  made 
after  Raphael's  cartoons.  His  son,  Raphael  van 
CoxiE,  who  was  received  as  a  Master  in  the  Guild 
of  St.  Luke  at  Antwerp  in  1585,  was  much  inferior 
to  his  father.  He  was  born  at  Mechlin  in  1540, 
and  died  at  Brussels  in  1616. 

COYPEL  FAMILY. 

Norl  n(!?s_l707). 
Married 

i 


lat,  Madeleine  H^rault  (163S— 1682)- 


Antoine  (1661-1722). 
Charles  Antoine  (1691-1762). 


—2nd,  Anne  Fran?oige  Perin 
(died  1728). 

NoSl  Nicolas  (1682—1734). 


COYPEL,  Antoine,  the  son  of  Noel  Coypel, 
was  born  in  Paris  in  1661.  His  father  instructed 
him  in  the  art  of  painting,  and  took  him  when  but 
eleven  years  of  age  to  Rome,  where  he  had  been 

345 


A  BIOGRAPHICAL  DICTIONARY  OF 


appointed  director  of  the  French  Academy.  But 
neither  the  masterpieces  of  Rome,  nor  the  example 
of  his  father,  could  inspire  him  with  a  feehng  fur 
tlie  truly  grand  and  beautiful.  He  preferred  the 
style  and  counsel  of  Bernini  to  the  study  of  Raphael 
and  the  Carracci ;  and  the  depravity  of  his  taste  was 
confirmed  by  his  returning  to  Paris  at  the  age  of 
eighteen  ;  that  is  to  say,  he  left  Rome  precisely  at 
the  time  that  he  should  have  gone  there.  He  was 
only  nineteen  when  he  painted  his  picture  of  the 
'  Assumption  '  for  the  cathedral  of  Notre-Dame,  and 
but  twenty  when  he  was  received  into  the  Academy. 
He  was  taken  into  the  employment  of  the  court, 
and  became  one  of  the  most  popular  painters  of 
his  time.  It  is  curious  to  compare  the  criticism  of 
two  of  the  most  esteemed  of  the  French  biogra- 
phers respecting  the  works  of  this  painter.  "  No 
artist,"  says  D'Argenville,  "  possessed  the  poetry  of 
the  art  in  a  higher  degree  than  Antoine  Coypel. 
Formed  by  nature  for  the  grandest  compositions, 
the  fertility  of  his  genius  displays  itself  through 
all  his  works.  He  was  graceful  in  the  airs  of  his 
heads,  painted  children  in  the  greatest  perfection, 
and  was,  above  all,  attentive  in  expressing  with 
propriety  the  passions  of  the  soul."  A  less  favour- 
able judgment  is  pronounced  by  Watelet :  "Be- 
cause," says  that  writer,  "he  was  equal  to  the 
production  of  a  great  machine  in  the  theatrical 
sty'e,  he  was  conceived  to  possess  the  poetry  of  the 
art ;  because  he  gave  to  his  heads  a  physiognomy 
purely  French,  they  are  thought  to  be  beautiful. 
His  coquetry  is  called  grace,  a  grace  to  be  learned 
of  the  dancing-master.  He  consulted  the  comedian 
Baron  for  the  attitudes  of  his  most  exalted  charac- 
ters, and  travestied  a  hero  of  antiquity  into  a 
puppet  of  the  theatre." 

It  cannot,  however,  be  denied  that  Antoine 
Coypel  possessed  those  qualities  which  are  found 
in  the  artists  most  admired  in  his  country,  quali- 
ties which  perhaps  were  necessary  to  the  gratifica- 
tion of  national  feeling,  and  the  acquisition  of 
popularity.  His  principal  works  in  Paris  were, 
'  Christ  among  the  Doctors,'  and  the  '  Assump- 
tion,' in  the  cathedral  of  Notre-Dame  ;  and  '  Christ 
healing  the  Bhnd  at  Jericho,'  at  the  Carthusians. 
He  was  much  employed  in  decorating  the  royal 
palaces,  and  was  made  principal  painter  to  the 
king  in  1716,  besides  holding  other  important 
posts.  The  Louvre  possesses  his  '  Athaliah  driven 
from  the  Temple,'  '  Susannah  accused  by  the 
Elders,'  '  Esther  before  Ahasuerus,'  and  '  Rebecca 
and  Eliezer,'  as  well  as  between  two  and  three 
hundred  drawings  and  sketches  by  him.  His 
own  portrait  by  himself  is  in  the  UfBzi,  Florence  ; 
the  Lille  Gallery  possesses  a  picture  of  '  Athalide 
et  Roxane,'  taken  from  the  '  Bajazet'  of  Racine ; 
and  the  Bordeaux  Museum,  a  '  Triumph  of  Apollo.' 
In  the  Dublin  National  Gallery  is  a  picture  of 
'  Christ  healing  one  possessed  by  a  Devil,'  dated 
1717.  Antoine  Coypel  died  in  Paris  in  1722.  We 
have  by  him  several  etchings,  executed  in  a  finished 
and  masterly  style,  among  which  are  the  following  : 

Melchizedek  presenting  the  Bread  to  Abraham. 

Judith ;  half-length ;  finished  by  Simoneau. 

The  Baptism  of  Christ. 

Ecce  Homo  ;  finished  by  Simoneau. 

The  Virgin  and  Infant,  in  an  oval. 

The  Virgin  suckling  the  Infant. 

St.  OeciUa. 

Cupid  conquering  Pan. 

Bacchus  and  Ariadne;  finished  by  G.  Audran ;  very 

fine.     1693. 
The  Triumph  of  Galatea  ;  finished  by  Simoneau  ;  fine. 

346 


The  Head  of  Democntus.    1692. 

The  Portrait  of  La  Voisin,  who  was  broken  on  the 
wheel  for  poisoning  ;  two  plates,  large  and  small. 

COYPEL,  Charles  Antoine,  a  painter  and 
etcher,  who  was  the  son  of  Antoine  Coypel,  was 
born  in  Paris  in  1694.  He  was  instructed  by  his 
father,  whose  style  he  followed,  although  in  a  very 
inferior  manner.  He  quitted  historical  subjects  to 
paint  bambochades,  but  was  not  successful  even 
■svith  these,  his  taste  for  the  theatre  frequently 
betraying  itself  in  his  pictures  in  the  artificial  com- 
position and  in  the  forced  position  of  his  figures. 
There  are  two  specimens  of  his  work  to  be  seen 
in  the  Louvre.  He  executed  a  portrait  of  himself 
at  about  the  age  of  fifty,  in  which  he  is  represented 
leaning  against  a  table,  and  holding  a  porte-crayon. 
In  fact,  his  best  works  as  a  painter  are  his  por- 
traits ;  that  of  Adrienne  Le  Couvreur  has  been 
admirably  engraved  by  Pierre  Imbert  Drevet.  C.  A. 
Coypel  etched  a  series  of  the  Muses,  a  caricature 
'  Histoire  d'une  Devote,'  and  some  other  subjects 
a  la  mode,  which  are  of  but  little  interest.  He 
died  in  Paris  in  1752. 

COYPEL,  Noel,  a  French  painter,  was  born  in 
Paris  in   1628.     He   was   first  placed   under  the 
tuition  of  an  artist  named  Poncet,  at  Orleans  ;  but 
at  the  age  of  fourteen  he  became  a  scholar  of  QuU- 
lerier,  under  whom  he  acquired  sufficient  ability  to 
be  employed  by  Charles  Errard,  who  was  charged 
■\vith   the   superintendence   of   the   works   at   the 
Louvre.     It  was  not  long  before  he  distinguished 
himself,  and  he  was  received  into  the  Academy  in 
1663.     The  picture  he  painted  for  his  reception 
was   'Cain   and   Abel.'     It   was  about  the  same 
time  that  he  painted  his  celebrated  picture  of  the 
'Martyrdom  of  St.  James,'  for  the  cathedral  of 
Notre-Dame.     He  was  now  regarded  as  one  of  the 
ablest  artists  of  France,  and  was  appointed  by  the 
king  director  of  the  French  Academy  at  Rome. 
Thither  he  went  in  1672,  and  presided  over  the 
Academy  with  great  reputation  for  three  years. 
It  was  during  his  residence  there  that  he  painted 
his  four  easel  pictures  for  the  king's  cabinet,  repre- 
senting '  Solon  explaining  his  laws  to  the  Athenians,' 
'Trajan  giving  public   audience  to  the  Romans,' 
'  Ptolemy  Philadelphus  giving  liberty  to  the  Jews,' 
and  '  Alexander  Severus  distributing  com  to  the 
Roman   People.'     These   pictures   were   publicly 
exposed  at  Rome  in  the  Rotonda,  and  gained  him 
great  reputation.     They   are   now   placed  in  the 
gallery  of  the  Louvre,  where  is  also  preserved  his 
picture  of  '  Cain  and  Abel,'  as  well  as  several  other 
paintings    representing    classical    subjects.       He 
appears  to  have  imitated  in  these  works  the  style 
of  Poussin  and  Le  Sueur.     His  colouring  is  tender, 
warm,  and  clear,  and  his  execution  careful.     After 
his  return  to  Paris,  Coypel  was  employed  on  several 
fresco  paintings  in  the  Tuileries.     His  last  work, 
the  fresco  of  the  '  Assumption  of  the  Virgin,'  over 
the  high-altar  of  the  church  of  the  Invalides,  was 
executed  at  the  advanced  age  of  78,  and  may  be 
considered   as   one   of  his   best   productions.     A 
picture  by  him  of  'Susannah  accused  of  Adultery' 
is  in  the  Madrid  Gallery  ;  and  the  Bordeaux  Museum 
has  an  '  Allegory  '  by  him.     Many  of  his  paintings 
have  been  engraved  by  Poilly,  Duchange,  Cochin, 
and  others.     Noel  Coypel  married  in  1659  Made- 
leine  Heeault,   the  sister  of    Charles    Herault, 
the   landscape   painter,  and   herself   an   artist   of 
ability.     She  was  born  in  1635,  and  died  in  Paris 
in  1682.     In  1685  Coypel  married,  as  his  second 
wife,  Anne  Fran(;oise  Perin,  a  young  artist  whose 


PAINTERS  AND  ENGRAVERS. 


works  have  long  since  been  forgotten.  He  died 
in  Pans  m  1707.  His  widow  married  Francois 
Bonart,  a  painter  and  engraver,  and  died  in  Paris 
in  1728.  Noel  Coypel  lias  etched  the  following 
plates  : 

The  'Virgin  caressing  the  Infant  Jesus. 
The  same  subject ;  larger. 
The  Holy  Family. 

COYPEL,  NoiJL  Nicolas,  a  painter  and  etcher, 
born  in  Paris  in  1692,  was  a  younger  son  of  Noel 
Coypel.  He  received  his  first  instruction  from  his 
father,  whom  he  had  the  misfortune  to  lose  when 
he  was  fifteen  years  of  age.  It  does  not  appear 
that  he  had  the  advantage  of  seeing  Italy ;  he 
studied  from  the  best  works  of  art  in  his  own 
country,  and  became  of  sufiScient  celebrity  to  be 
received  into  the  Academy  in  1720,  when  he  was 
twenty-eight  years  of  age.  His  reception  picture 
was  '  Neptune  carrying  off  Amynione.'  Amongst 
his  best  works  were,  the  ceiling  of  the  chapel  of  the 
Virgin  in  the  church  of  St.  Saviour,  and  the  altar- 
piece  in  the  same  chapel,  representing  the  Assump- 
tion. His  '  Triumph  of  Amphitrite,'  painted  in 
1727,  was  considered  the  best  work  that  entered 
the  lists  for  the  royal  prize  then  offered.  There 
are  several  other  works  of  this  artist  in  the  churohea 
of  Paris.  He  died  in  Paris  in  1734.  We  have  the 
four  following  plates  etched  by  him : 

St.  Theresa,  with  several  Angels 

The  Triumph  of  Amphitrite. 

Jupiter  and  Autiope. 

A  young  "Woman  caressmg  a  Dove ;  afterwards  finished 
by  ]V.  Edelinck. 

COZENS,  Alexander,  a  natural  son  of  Peter  the 
Great  and  an  Englishwoman  from  Deptford,  was 
born  in  Russia  at  the  beginning  of  the  18th  cen- 
tury, but  studied  painting  in  Italy,  and  then  pro- 
ceeded, in  1746,  to  England,  where  he  died,  in 
London,  in  1786.  He  exhibited  at  the  Royal 
Academy  from  1772  to  1781.  Some  tastefully- 
designed  pen-and-ink  sketches  by  him  are  in  the 
British  Museum,  but  he  chiefly  devoted  himself  to 
giving  instruction  and  writing  various  books  on 
art,  adorned  with  numerous  illustrations,  among 
which  are '  The  Principles  of  Beauty,  relative  to  the 
Human  Head'  (1778),  and  'The  Shape,  Skeleton, 
and  Foliage  of  Trees'  (1771).  The  South  Ken- 
sington Museum  has  two  Landscapes  by  him. 

COZENS,  John  Robert,  the  son  of  Alexander 
Cozens,  was  born  in  London  in  1752.  He  visited 
Italy,  and  after  his  return,  in  1783,  painted  in  water- 
colours  with  great  success.  He  possessed  great 
taste  in  representing  scenes  of  a  still,  tender, 
or  melancholy  nature.  In  1794  he  became  de- 
ranged, and  died  in  1799.  The  South  Kensington 
Museum  has  five  examples  of  his  work. 

COZZA,  Carlo,  was  the  son  of  Giovanni  Battista 
Cozza,  and  was  born  at  Ferrara  about  the  year 
1700.  He  was  instructed  by  his  father,  in  whose 
style  he  painted  several  pictures  for  the  churches  of 
his  native  city.  In  the  Chiesa  Nuova  is  a  picture 
by  him  of  the  '  Annunciation ; '  in  Santa  Lucia 
of  '  St.  Anthony  the  Abbot ; '  and  in  San  Matteo 
of  'St.  Francis  of  Paola.'  He  died  at  Ferrara  in 
1769. 

COZZA,  Francesco,  a  painter  and  etcher,  was 
a  Calabrian,  bom  at  Istilo  in  1605.  He  went 
early  in  life  to  Rome,  and  became  a  scholar  of 
Domenichino,  to  whom  he  attached  himself  by  the 
most  marked  affection,  and,  according  to  the  Abbate 
Titi,  finished  some  of  the  works  of  that  master 
after  his  death.     He  was  received  into  the  Aca- 


demy at  Rome  in  1650,  and  died  in  that  city  in 
1682.  One  of  his  best  works  is  the  'Vergine  del 
Riscatto,'  in  the  church  of  Santa  Francesca  Romana 
at  Rome.  The  Copenhagen  Museum  possesses  a 
'  Landscape,  with  Hagar  and  the  Angel,'  'oy  him. 
He  etched  several  excellent  plates  in  the  style  of 
Pietro  del  Po,  as  : 

St.  Peter.    1630. 

Cimon  and  Pera, 

Christ  sleeping  and  adored  by  Angels. 

St.  Mary  Magdalene.    1650. 

COZZA,  Giovanni  Battista,  was  born  at  Milan 
m  1676.  While  he  was  yet  young  he  settled  at 
Ferrara,  where  he  was  much  employed  for  the 
churches.  Without  great  correctness  of  design, 
he  possessed  a  copious  invention,  and  an  unusual 
facility  of  handling.  Of  his  numerous  works  at 
Ferrara,  the  following  are  the  principal.  In  the 
cathedral,  the  '  Immaculate  Conception  ; '  at  the 
Ognissanti,  the  '  Holy  Family ; '  in  Santa  Lucia, 
the  '  Annunciation ;  '  and  in  San  Guglielmo,  the 
'  Assumption  of  the  Virgin.'  He  died  at  Ferrara  in 
1742. 

COZZALE,  Grazio,  (or  Cossale,)  was  a  native 
of  Brescia,   who  flourished  about  the  year  1605. 
He  is  said  by  Cozzando,  in  his   '  Ristretto  della 
Storia  Bresciana,'  to  have  possessed  an  uncommon 
readiness  of  invention,  and  in  his  larger  works 
appears   to    have    imitated    the    style    of   Palma 
without  having  sunk  into  his   mannerism.      His 
principal  works  are,  the  'Adoration  of  the  Magi,'  in 
S.   Maria  delle  Grazie,  at  Brescia ;  and  the  '  Pre- 
sentation in  the  Temple,'  in  S.  Maria  de'  Miraooli. 
This  artist  was  assassinated  by  one  of  his  sons. 
CRAASBECKE.     See  Craeseeeck. 
CRABBE^  Frans,  (or  Van  Espleghem,)  was  a 
Flemish  painter,  who  became  a  master  of  the  Guild 
of  St.  Luke  at  Mechlin  in  1501,  and  is  supposed  to 
be  the  same  as  Frans  Minnebroer.  He  was  the  son 
of  Jan  Crahbe,  a  painter,  but  it  is  not  known  under 
whom  he  studied.     He  painted  in  tempera,  and 
possessed  the  faculty  of  giving  his  works  so  much 
vigour  that  they  seem  to  be  oil   paintings.     His 
heads  are  in  the  style  of  Quintin  Massys,  but  in  all 
other  respects  his  portraits  resemble  those  of  Lucas 
van  Leyden.     His  principal  work  was  a  triptych 
painted  over  the  high  altar  of  the  church  of  the 
Franciscan  convent  at  Mechlin,  the  principal  subject 
of  which  was  the  '  Saviour  on  the  Cross,'  but  this 
perished  when  the  church  was  sacked  by  the  Gueux 
in  the  16th  century.      Crabbe  died  at  Mechlin  in 
1553,  leaving  a  son,  Jan  Crabbe,  who  was  also  a 
painter,  and  who  died  at  Mechlin  in  1576. 

Crabbe  is  probably  identical  with  the  engraver 
who  is  known  as  the  'Master  of  the  Crab,'  by 
whom  we  have  50  plates,  mostly  in  the  style  of 
Lucas  van  Leyden,  but  in  some  cases  in  that  of 
Jan  van  Mabuse.  'They  are  described  in  Bartsch's 
'  Peintre-Graveur,'  vii.  527,  and  Passavant's 
'  Peintre-Graveur,'  iii.  15,  and  among  them  the 
following  are  the  best : 

The  Annunciation. 

The  Nativity. 

Christ  taking  leave  of  His  Mother. 

The  Passion  ;  fourteen  plates. 

Christ  on  the  Cross. 

Ecce  Homo. 

The  Four  Evangelists ;  four  plates. 

Jephthah's  Daughter. 

Esther  before  Aihasuerus. 

Lucretia. 

CRABETH,  Adriaen,  of  Gouda.     Tliree   por- 

347 


A   BIOGRAPHICAL  DICTIONARY  OF 


traits,  in  one  picture,  bearing  the  date  1560,  attri- 
buted to  liim,  are  in  the  Darmstadt  Gallery. 

CRABETH,  Dirk  and  Wodtee,  two  brothers, 
were  natives  of  Gouda.  They  flourished  about 
the  years  1560-1620,  and  surpassed  all  their  pre- 
decessors in  the  art.  Their  principal  works  were 
fourteen  of  the  seventy-five  windows  of  the  great 
church  of  St.  John  at  Gouda.  The  best  are  the 
'  Baptism  of  Christ,'  '  Our  Saviour  driving  the 
Buj'ers  and  Sellers  from  the  Temple,'  and  the 
'  Last  Supper,'  all  by  Dirk  Crabeth ;  and  '  The 
Offering  of  Elijah  before  the  Priests  of  Baal,'  the 
'  Nativity,'  and  the  '  Sacrilege  of  Heliodorus,'  all 
by  Wouter  Crabeth,  the  last-named  being  his 
master-piece,  and  the  finest  of  all  the  windows. 
Although  fine  compositions,  they  are  not  in  the 
best  style  of  the  art,  and  are  rather  poor  in  colour. 
Wouter  visited  France  and  Italy,  and  left  in 
every  town  where  he  resided  one  of  his  glass- 
paintings.  He  distinguished  himself  by  the  light 
and  brilliancy  of  his  colouring,  whilst  Dirk  ex- 
celled more  in  his  vigorous  touch. 

CRABETH,  Wouter  Pieterszoon,  the  younger, 
a  grandson  of  the  artist  of  the  same  names,  was  a 
scholar  of  Cornells  Ketel.  After  visiting  France 
and  Italy,  and  studying  the  works  of  the  best 
masters  in  Rome,  he  settled  down  in  Gouda  in 
1628  as  a  portrait  and  historical  painter.  In  1628 
he  painted  for  the  church  of  Purmerende  an 
'  Assumption  of  the  Virgin,'  and  in  1644  a  '  Feast  of 
a  Shooting  Club,'  which  is  still  preserved  at  Gouda. 

CRABETJE.     See  Asselijn. 

CBACO,  Jan,  a  Dutch  portrait  painter,  who 
flourished  in  the  latter  half  of  the  18th  century, 
was  a  native  of  Utrecht.  He  afterwards  resided 
at  Amsterdam,  in  which  city  he  died. 

CBADOCK,  LnKE,  an  English  painter  of  birds, 
dead  game,  and  animals,  in  which  he  particularly 
excelled.  He  was  born  at  Somerton,  near  Ilchester, 
about  the  year  1660,  and  served  an  apprenticeship 
to  a  house-painter  in  London.  Without  the  help 
of  an  instructor,  he  became  a  faithful  delineator 
of  birds  and  animals,  which  he  painted  with  a  free- 
dom and  a  fire  that  entitled  him  to  more  dis- 
tinction and  a  more  liberal  remuneration  than  he 
received  during  his  life.  After  his  death,  as  has 
but  too  frequently  been  the  lot  of  artists,  his 
works  were  sold  at  three  or  four  times  the  price 
lie  received  for  them  when  living.  He  died  in 
London  in  1717. 

CRADOCK,  Mart.    See  Beale. 

CRAESBEECK,  Joost  van,  (Craasbecke,  or 
Graasbeck,)  the  pot  companion  and  scholar  of 
Adriaan  Brouwer,  was  born  at  Neerlinter,  in  South 
Brabant,  in  1608.  He  was  bred  a  baker,  and  had 
settled  at  Antwerp  in  that  capacity  at  the  time 
when  Brouwer  visited  that  city.  Alike  in  their 
habits  of  debauchery,  an  acquaintance  sprang  up 
between  them,  and  Brouwer  became  Craesbeeck's 
inmate  on  quitting  the  protection  of  Rubens. 
Craesbeeck  forsook  his  oven,  and  became  the  dis- 
ciple of  his  friend,  and  it  is  surprising  that  a 
person  who  had  never  practised  painting  until  he 
had  reached  the  age  of  thirty  should  have  arrived 
at  a  proficiency  which  is  sufficient  to  rank  him 
among  the  meritorious  artists  of  his  country,  par- 
ticularly as  a  colourist.  He  was  inscribed  as  a 
citizen  of  Antwerp  in  1631.  In  1633-34  he  entered 
the  Guild  of  St.  Luke  at  Antwerp,  and  in  1651  that 
at  Brussels,  where  he  was  still  living  in  1654.  The 
date  of  his  death  is  not  known,  but  it  was  cer- 
tainly before  1662.     His  paintings  represent  scenes 

348 


in  taverns,  guard-room  subjects,  low  fights,  and 
drunken  brawls.  Those  of  his  works  that  are  of 
a  nobler  character  are  executed  in  the  style  of 
Rembrandt,  and  painted  with  a  fine  chiaroscuro,  a 
delicate  brush,  and  an  excellent  colouring. 

Among  his  paintings,  many  of  which  are  signed 
J.  V-C-B.,  there  are  the  following: 

Amsterdam.  Museum.  Portrait  of  Hugo  de  Groot. 
Berlin.  Gallery.   Peasant  with  felt  hat. 

Madrid.  Gallery.    The  Marriage  Contract. 

Paris.  Louvre.     The  Artist  himself  painting  a  por- 

trait. 
Petersburg.  Hermitage.  Le  Lever. 
Schleissheim.    Aren-  \  The  Artist's   Studio,  with  Brou- 

hei'g  Gallery.  )      wer's  portrait. 
Vienna.         Gallery.     Soldiers  and  Women  talking. 

CRAEYER,  Gaspar  de.     See  De  Crater. 

CRAFT,  William  H.,  an  enamel  painter,  ex- 
hibited fancy  and  allegorical  subjects  and  portraits 
at  the  Royal  Academy  from  1774  to  1781.  He 
died  after  1787.  He  was  most  probably  a  brother 
of  Thomas  Craft,  who  was  an  artist  at  the  Bow 
Porcelain  Works. 

CRAIG,  William  Marshall,  exhibited  at  times 
at  the  Royal  Academy,  from  1788  till  1827.  He 
first  lived  at  Manchester,  but  settled  in  London 
about  1791.  He  was  painter  in  water-colours  to 
the  Queen,  and  miniature  painter  to  the  Duke  and 
Duchess  of  York.  He  also  excelled  as  a  draughts- 
man on  wood,  and  as  a  book  illustrator,  and  he 
published  in  1821  'Lectures  on  Drawing,  Paint- 
ing, and  Engraving.'  He  is  said  to  have  been  a 
nephew  of  Thomson,  the  poet.  'The  Wounded 
Soldier '  by  him  is  in  the  Water-Colour  Gallery  at 
the  South  Kensington  Museum. 

CRAMER,  NicoLAAS,  a  Dutch  painter,  was  born 
at  Leyden  in  1670.  According  to  Van  Gool,  he 
was  for  some  time  a  scholar  of  Willem  Mieris, 
but  afterwards  studied  under  Karel  De  Moor,  whose 
manner  he  followed.  He  painted  subjects  taken 
from  private  life,  and  portraits  in  small.  His 
pictures  of  that  description  are  seen  in  the  best 
collections  in  Holland,  and  are  deservedly  admired. 
He  died  in  1710. 

CRAMER,  Peter,  who  was  born  at  Copenhagen 
in  1726,  was  a  self-taught  artist  who  prepared  the 
drawings  for  the  illustration  of  Norden's  '  Travels 
in  Egypt,'  and  then  became  a  decorative  and  the- 
atrical painter.  Together  with  this  occupation  he 
executed  popular  Danish  scenes  in  the  style  of 
Teniers,  and  several  of  his  pictures  were  engraved 
by  Haas,  Kleve,  and  Clemens.  He  died  at  Copen- 
hagen in  1782. 

CRANACH,  Hans,  appears  to  have  been  a  third 
son  of  Lucas  Cranach  the  elder.  Schuchardt,  who 
discovered  his  existence,  credits  him  with  an  altar- 
piece  at  Weimar,  signed  with  the  monogram  H.  C., 
and  dated  1537.     He  was  still  living  in  1553. 

CRANACH,  Johann  Lucas,  the  eldest  son  of 
Lucas  Cranach  the  elder,  was  born  about  1503. 
He  died  at  Bologna  in  1536.  Luther  mentions  his 
death  in  his  'Table  Talk,'  and  Johann  Stigel,  a 
contemporary  poet,  celebrates  him  as  a  painter. 

CRANACH,  Lucas,  (or  Keanach).  The  proper 
name  of  this  master  is  a  matter  of  some  uncer- 
taintj'.  Of  late  years  it  has  been  thought  to  be 
Sunder,  and  he  is  to  be  found  in  most  histories 
under  that  name,  but  Herr  Warnecke  ('  Lucas 
Cranach  der  Aeltere,'  1879,)  has  recently  brought 
forward  e%'idence  to  show  that  it  was  JIullbr,  as 
formerly  supposed.  This  evidence,  however,  chiefly 
consists  in  a  phrase   in  a  narrative  of  Valentin 


LUCAS  CRANACH 


Bruckmann  fhoto]  ^Dresden  Gallery 

THE  AGONY  IN  THE  GARDEN 


PAINTERS  AND  ENGBAVERS. 


Stemenboke,  written  in  1609,  which  runs  aa 
follows— "And  the  Emperor  asked  him  how  he 
was  called,  and  he  replied  that  he  was  called  by  his 
parents  Lucas  Muller,  out  of  the  town  of  Cranach 
in  Franconia,  but  on  account  of  his  art  he  was  styled 
Lucas  the  Painter,  and  the  Elector  of  Saxony  had 
named  him,  from  his  native  land,  Lucas  Cranach." 
The  evidence  for  the  name  of  Sunder  likewise 
rests  on  very  slight  foundation. 

But  whatever  be  his  name,  he  was  certainly 
bom  at  Kronach  in  the  bishopric  of  Bamberg 
on  the  4th  of  October,  1472.  He  is  said  to  have 
learnt  his  art  from  his  fa,ther,  who  is  supposed 
also  to  have  been  a  painter,  though  none  of  his 
works  remain.  It  is  not  known  where  his  early 
years  were  spent,  but  it  is  surmised  that  he  lived 
some  time  in  Gotha,  where  he  married  a  cer- 
tain Barbara  Brengbier,  who,  although  affirmed  by 
tradition  to  have  been  extremely  ugly,  is  never- 
theless celebrated  as  having  been  a  most  excellent 
wife  and  mother.  He  is  stated  to  have  accom- 
panied the  Elector  Frederick  the  Wise  to  the 
Holy  Land  in  1493,  but  this  is  not  certain.  In 
•  1504  we  find  him  established  at  Wittenberg  as 
court  painter  to  Frederick  the  Wise,  who  in  1508 
bestowed  on  him  a  coat  of  arms  and  patent  of 
nobility.  He  was  evidently  a  man  of  importance 
in  Wittenberg,  for  he  was  twice  (in  1537  and  1540) 
elected  Burgomaster  of  the  town,  where  he  carried 
on,  besides  his  large  art  workshops,  a  book-printing 
business  and  an  apothecary's  shop.  His  house  in 
Wittenberg,  called  the  "  Adler,"  was  standing  till 
1871,  when  it  was  unfortunately  destroyed  by  fire. 
In  1509  Cranach  was  sent  by  the  Elector  on  an 
embassy  to  the  art-loving  Emperor  Maximilian, 
but  nothing  is  known  as  to  their  intercourse,  ex- 
cept that  he  took  the  portrait  of  the  young  Prince, 
afterwards  Charles  V.  Cranach,  however,  after- 
wards executed  some  of  the  drawings  in  what  is 
called  '  Maximilian's  Prayer-book,'  so  one  may 
imagine  that  some  relations  continued  to  exist 
between  them.  Cranach  held  the  office  of  court 
painter  to  the  House  of  Saxony  under  three  suc- 
cessive Electors,  the  last  being  the  noble  but 
ill-fated  Frederick  the  Magnanimous,  to  whom  he 
was  so  much  attached,  that  after  the  battle  of 
Mvihlberg  in  1547,  he  shared  and  enlivened  his 
captivity  at  Augsburg,  being  also,  it  is  said,  instru- 
mental in  procuring  his  release  from  Charles  V. 
In  1552,  when  the  Elector  was  at  last  set  free, 
Cranach,  then  a  very  old  man,  followed  his  lord 
to  Weimar,  where  our  master  died  at  the  age  of 
80,  on  the  16th  of  October,  1553. 

Lucas  Cranach  may  be  regarded  as  pre-eminently 
the  painter  of  the  German  Reformation.  Although 
not  approaching  Diirer  and  Holbein  in  intellectual 
power  and  aesthetic  perfection,  he  was  moved  even 
more  deeply  than  they  by  the  religious  influences  of 
the  times.  The  influences  of  the  Renaissance  were 
also  at  work  in  his  art,  as  seen  by  the  numerous 
classical  subjects  he  has  depicted  so  naively  ;  and 
moreover,  there  may  be  traced  in  it  a  sort  of  homely 
humour,  which  no  doubt  caused  Kugler  to  compare 
him  to  Hans  Sachs.  He  was  the  intimate  friend 
of  Luther,  whom  he  has  several  times  represented 
in  his  pictures,  and  embracing  his  doctrine  warmly, 
he  endeavoured  to  set  it  forth  in  his  art. 

His  reputed  paintings  are  somewhat  unequal  in 
merit,  but  this  is  chiefly  because  many  of  those 
ascribed  to  him  are  merely  atelier-works, done  under 
his  direction  by  his  sons  and  pupils.  Among  the 
most  important  of  his  paintings  may  be  mentioned  : 


Augsburg.  Eathhaus.     Samson  and  Delilah. 

Berlin.        Gallery.       Venus  and  Cupid  stung  by  a  Bee 

Carlsruhe.  The  Judgment  of  Paris. 

Florence.  Uffizi.  Adam  and  Eve. 

Gotha.        Gallery.        The  Fall  and  Redemption  of  Man. 

Leipsic.  The     Repose     in    Egypt.      1504. 

(Formerly  in  the  Hciarra  Palace, 

Rome.) 
„  Museum.     A  Dying  Man. 

Munich.       Gallery.      A^^omau  taken  in  Adultery. 
Petersbrg.  Hermitage.  Madonna  under  the  Apple-tree. 
Schneeberg.  Utadtkirche.  The    Crucifixion,  Last    Supper, 

&c.  [an  altar-piece). 
■Weimar.    Stadtkirche.  Crucifixion,    with      portraits      of 

Luther,    Melanchthon,   and    the 

painter  himself. 
Worlitz.  Gothic  House.  St.  George  and  the  Dragon. 

Several  of  these  subjects  were  treated  frequently 
by  Cranach,  and  replicas  of  them  are  to  be  found 
in  many  galleries.  It  is  indeed  very  difiioult  to 
distinguish  his  works  from  those  of  the  master 
now  known  as  the  '  Pseudo-Griinewald,'  and  from 
those  of  his  son  Lucas  Cranach  the  younger. 
Lucas  Cranach  the  elder,  as  he  is  called  to  distin- 
guish him  from  his  son,  always  painted  in  oils  on 
wooden  panels.  His  colouring  is  warm  and  rich, 
but  his  drawing  is  usually  defective.  He  excelled 
in  portraiture,  and  evidently  delighted  in  it,  for  ho 
often  introduces  portraits  of  his  friends  into  his 
pictures.  His  female  portraits  have  a  sort  of 
naive  grace  that  renders  them  very  pleasing. 
There  is  one  by  him  in  the  National  Gallery  of  a 
young  girl  in  elaborate  costume,  which  is  entirely 
characteristic. 

He  was  fond  also  of  drawing  birds  and  animals, 
and  often  depicted  hunting  scenes.  His  art  indeed 
may  be  defined  as  thoroughly  national,  homely 
and  individual,  marked  by  cheerful  fancy  and 
quaint  invention,  sometimes  bordering  on  carica- 
ture. He  had  three  sons,  who  are  believed  to 
have  been  painters,  but  only  his  second  son,  Lucas 
Cranach,  the  younger,  acquired  any  reputation. 
Cranach  usually  signed  both  his  paintings  and 
engravings  with  the  crest  granted  him  by  the 
Elector  Frederick — a  flying  dragon  with  a  crown 
upon  its  head.  He  is  said  to  have  painted  so 
rapidly  that  on  his  tombstone  he  was  described  as 
'celerriraus  piotor.' 

But  it  is  as  an  engraver  rather  than  as  a  painter 
that  Cranach  is  best  known.  Heller  describes 
more  than  800  prints  by  him.  These  are  mostly 
wood-outs,  but  he  executed  also  a  few  copper-plates. 
These  are  now  rare,  though  some  of  his  wood- 
engravings  are  often  met  with.  Drawings  also 
by  him  are  to  be  found  in  most  public  collections. 

PRINCIPAL   COPPER   ENGRAVINGS. 
The  Penitence  of  St.  John  Chrysostom.     1509. 
Three  portraits  of  Luther,  dated  1519,  1520,  and  1521. 
Portraits  of  the  Elector  Frederick  III.,  with  an  angel 

holding  a  crown  of  laurel. 
Portraits  of  other  Electors. 

PRINCIPAL  WOOD   ENGRAVINGS. 
Passion  of  Christ.  A  series  of  15  cuts. 

The  Martyrdom  of  the  Apostles.    1549.         12    „ 
Christ  and  the  Apostles.  14    „ 

The  Wittenberg  Hagiology.     1509.  119    „ 

Passional  Christi  et  Antichrist!.     1521.         26    „ 
Hortulus  Animae.  33    „ 

Adam   and   Eve  in  Paradise   surrounded  by  animals. 

(B.  1.) 
The  Repose  in  Egypt,  with  dancing  angels.    (B.  4.) 
Christ  and  the  Samaritan  Woman.     (B.  22.) 
Temptation  of  St.  Anthony.     (B.  56.) 
St.  Christopher.     (B.  58.) 
St.  Jerome  in  the  Desert.    (B.  63.) 

349 


A  BIOGRAPHICAL  DICTIONARY  OF 


Beheading  of  John  the  Baptist.     (B.  62.) 
Venus  and  Cupid.     (B.  113.) 
Judgment  of  Paris.     (B.  114.) 
Marcus  Curtius.    (B.  112.) 

Bibliography: — Heller:  'Lucas  Cranach's Leben 
und  TVerke,'  2nd  ed.,  1854.  Sckuchardt :  '  Lucas 
Cranach  des  Aeltem  Leben  und  Werke,'  3  vols. 
1851 — 1871.  Eisemann:  'Kunst  und  Kiinstler,' 
Tol.  i.  WarnecJce :  '  Lucas  Cranach  der  Aeltere,' 
1879.  BarUch  :  '  Le  Peintre-Graveur,'  vii.  273  ; 
Passavant :  '  Le  Peintre-Graveur,'  iv.  1.     jr  v  H. 

CRANACH,  Lucas,  the  younger,  ■was  the  second 
son  of  Lucas  Cranach  the  elder.  He  was  born 
in  1515,  and  received  his  education  in  art  in  his 
father's  workshops.  He  is  weaker  in  drawing 
than  his  father,  and  softer  in  colouring,  but  it  is 
difficult  to  distinguish  their  works,  for  he  signed 
with  the  same  mark,  the  flying  dragon,  though, 
according  to  Schuchardt,  the  dragon  of  the  son  may 
be  known  by  its  wings  being  folded.  All  pictures 
after  the  date  1553.  (that  of  his  father's  death,) 
may  be  safely  ascribed  to  him,  and  many  such 
exist.  J.  A.  Crowe,  in  the  last  edition  of  Kugler's 
'  Handbook,'  mentions  several  in  the  principal 
church  at  Wittenberg.  One  of  these  he  describes 
as  a  singular  work  bearing  "  distinct  reference  to 
the  state  of  the  Church  in  his  time."  It  represents 
the  vineyard  of  the  Lord,  •'  one  half  of  which  is 
being  destroyed  by  the  clergj'  of  the  Romish 
Church,  whilst  the  heroes  of  the  Reformation  are 
emploj'ed  in  cultivating  the  other,"  and  is  dated 
1569.  Bj'  this  it  is  clear  that  he  must  have  had  the 
same  warm  Protestant  sympathies  as  his  father. 
Other  paintings  by  him  are : 

Berlin.  GaUery.    The  Fountain  of  Youth.    1546. 

Brunswick.   Gallery.    Preaching  of   John   the   Baptist. 

1549. 
'  Dresden.       Gallery.    Crucifixion. 

„  „  Portraits  of  the  Electors  Maurice 

.  and  Augustus. 
Leipsic.         3Iuseum,   Crucifixion.     1557. 
Munich.         Gallery.     Virgin  and  Child  with  Grapes. 
Nordhausen.  Raising  of  Lazarus. 

Wittenberg.  Stadtkirche.  Nativity. 
„  „  Crucifixion. 

He,  like  his  father,  appears  to  have  been  a  man 
of  importance  in  Wittenberg,  for  he  also  filled 
the  office  of  Burgomaster.  He  died  at  Wittenberg 
in  1586.  No  engravings  by  him  are  known,  but 
it  is  believed  that  he  furnished  the  designs  for  the 
woodcuts  in  Luther's  translation  of  the  Bible, 
printed  at  Leipsic  in  1542,  as  well  as  for  some  por- 
traits, among  which  is  a  series  of  the  Princes  of 
Saxony.  (See  Passavant's  '  Peintre-Graveur,'  iv. 
24.)  M.  ¥.  H. 

CRANCH,  John,  who  was  born  at  Kingsbridge, 
Devon,  in  1751,  practised  historical  and  portrait 
painting  as  an  amateur,  with  no  great  success,  in 
London  and  Bath,  where  he  died  in  1821.  His 
best  work  was  the  '  Death  of  Chatterton.'  He 
excelled  in  so-called  'poker  pictures.'  The  South 
Kensington  Museum  possesses  a  work  by  him, 
entitled  'Playing  with  Baby'  (1795). 

CRANE,  Thomas,  was  born  at  Chester  in  1808. 
Showing  early  a  taste  for  art,  in  1824  he  came  up 
to  London,  where  he  joined  the  schools  of  the 
Academy,  and  remained  two  years,  obtaining,  in 
1825,  the  medal  for  his  drawings  from  the  antique. 
Returning  to  Chester,  he  commenced  his  profession 
as  a  miniature  painter,  and  not  very  long  after,  he 
published,  in  conjunction  with  a  brother,  some 
sketches  of  celebrated  characters  in  North  Wales, 

350 


among  whom  were  Lady  Eleanor  Butler  and  Miss 
Ponsonby,  the  eccentric  "  Ladies  of  Llangollen." 
In  1832  he  made  his  first  appearance  as  an  exhibitor 
at  the  Liverpool  Academy,  and  continued  to  con- 
tribute to  that  Institution  for  many  years.  In 
1835  he  was  elected  an  Associate,  and  in  1838  a 
full  member  of  that  Academy.  But  the  delicate 
state  of  his  health  would  not  permit  of  hia  re- 
maining in  that  town,  and  he  removed  to  Torquay, 
where  he  resided  twelve  years,  occasionally  visit- 
ing the  scene  of  his  earlier  connections  in  the 
North,  where  he  procured  lucrative  commissions. 
He  died  in  London  in  1859.  Crane  was  most  success- 
ful in  portraits  of  females  and  children,  both  in  oil 
and  water-colours  ;  his  treatment  of  such  subjects 
being  so  elegant  and  so  full  of  fancy  as  almost  to 
make  them  ideal  works,  yet  without  compromising 
their  likeness.  He  also  painted  figure  subjects, 
as:  'The  First  Whisper  of  Love,'  'The  Deserted 
Village,'  '  The  Cobbler,'  '  The  Old  Romance,'  '  'The 
Baj'  Window,'  and  '  Masquerading,'  most  of  which 
were  exhibited  nt  the  Royal  Academy. 

CRANENBUEGH,  Hexdrik  van,  a  Dutch  land- 
scape painter,  was  bom  at  Amsterdam  in  1754. 
He  was  a  pupil  of  Bnrbiers,  but  at  the  age  of  thirty 
he  abandoned  painting  for  the  counting-house. 
He,  however,  continued  to  make  many  excellent 
copies  of  the  works  of  the  old  masters,  and  died  at 
Amsterdam  in  1832. 

CRANSSE,  Jan,  a  Flemish  painter,  was  born  at 
Antwerp  in  1480.  He  painted  historical  subjects, 
and  was  received  into  the  Guild  of  St.  Luke  at 
Antwerp  in  1523,  and  became  dean  thereof  in 
1535.  Van  Mander  speaks  highly  of  a  picture  by 
this  master  which  was  formerly  in  the  cathedral  of 
Antwerp,  representing  '  Christ  washing  the  Feet  of 
His  Disciples.'  Two  panels  of  coats  of  arms,  one 
of  the  Chamber  of  Rhetoric  of  Diest,  and  the  other 
wf  that  of  Turnhout,  by  him,  are  in  the  Antwerp 
Gallery. 

CRAPELET,  Louis  Amable,  a  French  water- 
colour  painter,  born  at  Auxerre  in  1822,  studied 
under  Corot,  Durand-Brager,  and  Sechan.  He  went 
to  Egypt  in  1852,  and  ascended  the  Nile  as  far  as 
the  third  cataract,  returning  to  France  in  1854. 
.Many  of  his  drawings  were  the  result  of  this  expe- 
dition.    He  died  at  Marseilles  in  1867. 

CEASTONA,  GiosEKFO,  was  bom  at  Pavia  in 
1664,  and  was  a  scholar  of  Bernardino  Ciceri.  He 
excelled  in  painting  landscapes  and  views  of  the 
vicinity  of  Rome,  from  designs  he  had  made  during 
a  long  residence  in  that  city ;  and  these  pictures, 
according  to  Orlandi,  were  greatly  in  vogue  in  his 
time.     He  died  in  1718. 

CRAWFORD,  Edmund  Thornton,  a  Scottish 
landscape  painter,  was  bom  at  Cowden,  near 
Dalkeith,  in  1806.  His  father  was  a  land  surveyor, 
and  Crawford  was  apprenticed  when  a  boy  to  a 
house-painter  in  Edinburgh.  Shortly  afterwards, 
however,  his  indentures  were  cancelled,  and  he 
entered  the  Trustees"  Academy,  then  under  Andrew 
Wilson.  In  1833  he  paid  the  first  of  several  visits 
to  Holland.  In  1839  he  was  elected  an  associate, 
and  in  1848  a  full  member  of  the  Scottish  Academy. 
He  died  at  Lasswade  on  September  29,  1885. 
His  art  was  closely  akin  to  that  of  Thomson  of 
Duddingston.     Works : 

Edinburgh.  5.  A'at.  Gall.   Group  of  Trees. 

„  Coast  scene.  North  Berwick. 

„  „  Close  hauled,  crossing  the  Bar. 

CRAWFORD,  William,  a  Scotch  portrait  and 


LORENZO  DI   CREDI 


Brogi  phulu] 


THE  MADONNA  AND  ST.  JOHN 


\_UJizi  Gallery,  Florence 


PAINTERS  AND  ENGRAVERS. 


genre  painter,  was  a  native  of  Ayr.  His  father 
placed  him  at  the  Trustees'  Academy,  under  Sir 
WilHam  Allan,  where  he  gained  a  travelling  bursary, 
which  enabled  him  to  study  in  Rome  for  about  two 
years.  On  his  return  he  conducted  the  drawing 
classes  of  the  Trustees'  Academy  for  several  years, 
and  also  occasionally  contributed  art  criticisms  to 
Edinburgh  newspapers.  His  crayon  portraits,  of 
which  a  good  many  were  exhibited  at  the  Royal 
Academy  in  London,  were  much  sought  after.  He 
was  elected  an  Associate  of  the  Royal  Scottish 
Academy  in  1862.  Among  his  genre  paintings  we 
may  mention  his  '  Highland  Keeper's  Daughter  ' 
(1865),  '  Waiting  for  the  Ferry,' '  Return  from  May- 
ing,' and  '  Too  Late,'  a  striking  picture  exhibited 
at  the  Royal  Scottish  Academy  in  1869,  in  which 
year  he  died. 

GRAYER,  Gaspar  de.    See  De  Crater. 

CREDI,  Lorenzo  di,  whose  surname  appears  to 
have  been  Baeddcoi,  and  not  Sciarpelloni,  as  stated 
by  Vasari,  was  born  at  Florence  in  1459.  He  was  a 
disciple  of  Andrea  del  Verrocchio  at  the  time  that 
Perugino  and  Leonardo  da  Vinci  were  studying 
under  that  master.  Lorenzo  displayed  a  preference 
for  the  style  of  Leonardo  over  that  of  his  instructor, 
and  copied  the  paintings  of  the  former  with  great 
success  ;  whilst  the  graceful  and  expressive  manner 
in  which  he  painted  Madonnas  and  Holy  Families 
remind  one  somewhat  of  the  style  of  Perugino.  He 
died  at  Florence  in  1537.  He  also  practised  the 
art  of  sculpture,  and  Verrocchio  in  his  will  ex- 
pressed a  desire  that  the  completion  of  his  famous 
equestrian  statue  of  Bartolommeo  Colleoni  should 
be  intrusted  to  Lorenzo.  It  was,  however,  given 
by  the  Venetians  to  Alessandro  Leopardo  to  finish. 
Giovanni  Antonio  Sogliani  and  Tommaso  di  Stefano 
■were  his  pupils.  The  following  paintings  by  him 
may  be  noted : 

Berlin.        Gallery. 


Cailsruhe.      „ 
Dresden.   Gallery. 


Florence.   Academy, 
Uffizi. 


London,     Nat.  Gall. 


Naples.      M-useum. 

Oxford. 

Palermo. 

Paris.         Louvre. 

Pistoja. 

Eome.     Borghese  Gall. 


Turin. 


Museum. 


Madonna  and  Cliild. 

St.  Mary  of  Egypt. 

Madonna  and  St.  John. 

Madonna  and  Child,  with  SS. 
Sebastian  and  John  the 
Evangelist. 

The  Nativity. 

Portrait  of  a  man. 

Christ  appearing  to  the  Magda^ 
len. 

Portrait  of  Andrea  del  Verroc- 
chio. 

The  Annunciation. 

The  Virgin  and  Child. 

The  Virgin  adoring  the  Infant 
Christ. 

The  Nativity. 

Madonna. 

Madonna  dell'  Ohvella. 

Virgin  and  Child. 

Clirist  and  the  Magdalen. 

Madonna  and  Saints. 

Virgin  and  Child,  with  St.  John 
the  Baptist. 

Virgin  and  Child. 


CREED,  Caret,  was  an  English  engraver,  who 
published,  in  1731,  a  set  of  plates  of  the  statues  and 
busts  at  Wilton  House,  which  possess  considerable 
merit. 

CREED,  Elizabeth,  a  daughter  of  Sir  Gilbert 
Pickering,  Bart.,  and  cousin  to  the  poet  Dryden, 
was  born  in  1642.  She  married  a  gentleman 
named  Creed,  of  Oundle,  in  Northamptonshire,  and, 
as  an  amateur,  painted  altar-pieces  for  several 
churches  in  the  neighbourhood,  and  also  portraits 
.of  her  friends.     She  died  in  1728. 


CREGAN,  Martin,  a  portrait  painter,  practised 
both  in  Dublin  and  London.  He  was  born  in 
1788,  and  was  a  member  of  the  Royal  Hibernian 
Academy  from  its  foundation  in  1823,  and  for 
many  years  its  President.  From  1812  to  1821, 
whilst  he  resided  in  London,  he  exhibited  yearly 
at  the  Royal  Academy.  His  last  contribution  was 
a  portrait  of  Miss  Dance  as  '  Mrs.  Haller.'  He 
returned  to  Dublin  in  1822.  and  was  patronized  by 
the  elite  of  that  city.  He  died  in  1870.  The 
Dublin  National  Gallery  has  a  copy  by  him  of  Sir 
Joshua  Reynolds's  portrait  of  Master  Crewe. 

CREMONA,  Antonio  da,  an  Italian  engraver 
on  wood,  who  flourished  about  the  year  1560. 
Among  other  prints,  he  engraved  a  cut  representing 
'  Mutius  Scsevola  burning  his  hand  in  the  presence 
of  Porsena.'  It  is  executed  on  a  single  block, 
without  any  cross-hatching.  He  is  supposed  to 
be  identical  with  Antonio  Campi. 
'  CREMONA,  Niccol6  da,  was  a  native  of  Cre- 
mona, who  flourished  about  the  year  1518.  Accord- 
ing to  Masini  ('Bologna  perlu.strata ')  he  was  a 
good  painter  of  history.  For  Santa  Maria  Mad- 
dalena,  at  Bologna,  he  painted  a  picture  of  the 
'  Descent  from  the  Cross  ; '  dated  in  1518.  In  the 
Bologna  Gallery  is  the  '  Marriage  of  the  Virgin ' 
from  the  church  of  San  Giuseppe. 

CREMONESE,  II.     See  Caletti. 

CREMONESE  dei  PAESI,  II.  See  Bassi,  Fran- 
cesco Maria. 

CREMONINI,  Giovanni  Battista,  was  born  at 
Cento  in  1560.  At  Bologna  he  executed  several 
frescoes  and  friezes  in  chiaroscuro  for  palaces  and 
houses,  and  painted  several  pictures  for  the 
churches  of  San  Girolamo,  San  Domenico,  and 
Madonna  del  Monte.  He  excelled,  however,  more 
especially  as  a  painter  of  decorations  for  theatres, 
festivities,  and  tournaments  ;  many  of  his  pro- 
ductions of  that  class  are  in  the  possession  of  the 
Duke  of  Mirandola.  He  had  great  talent,  but  was 
most  superficial  in  tlie  execution  of  his  works. 
He  died  at  Bologna  in  1610. 

CREPIN,  Louis  Philippe,  a  French  marine 
painter,  bom  in  Paris  in  1772,  was  a  scholar  of 
Kegnault  and  Hubert  Robert ;  he  also  had  lessons 
from  Joseph  Vemet,  and  followed  very  success- 
fully the  styles  of  those  masters.  He  was-fond  of 
representing  engagements  between  French  and 
English  vessels  of  war,  particularly  where  the 
former  fought  under  great  disadvantage.  He 
painted  many  other  subjects  of  more  general 
interest,  which  will  be  esteemed  when  the  battles 
are  forgotten.  He  painted  in  water  and  body 
colour,  and  etched  and  aquatinted  in  the  English 
manner.     Cr^pin  died  in  Paris  in  1851. 

CREPU,  Jan  Baptist,  (often  called  in  error 
Nicolaas,)  was  born  at  Brussels  in  1680.  He  was 
an  officer  in  the  Spanish  service,  which  he  quitted 
at  about  the  age  of  forty,  and  devoted  himself  to 
flower-painting,  in  which  he  showed  considerable 
talent.  He  composed  well,  and  painted  with  a 
light  and  free  pencil :  his  works  were  highly 
esteemed  by  his  contemporaries.  He  died  at  Ant- 
werp in  1742. 

CREPY,  Jean  and  Lonif.,  (or  Crespt,)  were  two 
indifferent  French  engravers  and  printsellers.  Jean, 
the  father,  was  born  in  Paris  about  1650,  and 
engraved  some  portraits,  am  jng  which  is  a  series 
of  very  small  ovals  of  the  princes  of  the  royal 
family  of  France,  remarkable  for  their  extremely 
minute  execution.  Louis,  the  son,  was  born  in 
Paris  about  1680.     Many  prints,  especially  por- 

351 


A  BIOGRAPHICAL  DICTIONARY  OF 


traits,  which  bear  the  name  of  Cr^py,  -svere  not 
engraved,  but  simply  published  by  them.  We 
have,  however,  the  following  plates  by  them  : 

Mary  Magdalene  ;  Crevy,  inv.  et  fecit. 
TheNativity ;  after  Atbani  ;  their  best  prmt. 
The  Descent  from  the  Cross ;  after  Carlo  Cignarti. 
The  Holy  Family ;  after  Lebrun. 
The  Presentation  in  the  Temple ;  after  the  same. 

CRESCENZI,  BAKTOLOsniEO.     See  Cavarazzi. 

CRESCENZI,  Giovanni  Battista,  Mabquis  de 
LA  ToERE.  an  Italian  painter  and  architect,  was  born 
at  Rome  in  1595.  He  was  a  pupil  of  Pomerancio, 
and  was  brought  to  Spain  by  Cardinal  Zapata 
shortly  before  1617,  in  which  year  he  was  invited 
amongst  others  to  send  in  his  plans  for  the  building 
of  the  Panteon  in  the  Escorial.  A  well-executed 
flower-piece  by  him  is  said  to  have  attracted  the 
attention  of  Philip  III.  His  plans  approved,  in 
1619  he  was  sent  to  Italy,  with  an  allowance  of 
2000  ducats,  and  letters  were  forwarded  to  the 
Spanish  ambassadors  at  foreign  courts  to  collect 
models  and  artisans  in  their  respective  countries. 
Returning  in  1620  with  eight  Italian  and  Flemish 
assistants,  he  began  the  building  of  the  Panteon, 
which  occupied  him  33  years,  being  interrupted  in 
1621  by  the  death  of  Philip  III.  By  Philip  IV. 
Crescenzi  was  loaded  with  favours,  created  Marquis 
de  la  Torre,  and  appointed  head  of  the  Board  of 
Woods  and  Works,  with  a  monthly  pension  of  140 
ducats.     He  died  at  Madrid  in  1660. 

CRESCEKZIO,  Antonello,  known  as  Anto- 
NELLO  DA  Palermo,  who,  according  to  De  Marzo, 
was  the  son  of  Antonio  Crescenzio,  was  bom 
early  in  the  16th  century,  and  practised  both  as 
a  sculptor  and  a  painter.  He  was  an  assistant 
to  the  sculptor  Gagnino  in  1527.  In  1537  he  com- 
pleted tn-o  copies  of  Raphael's  '  Spasimo  ; '  one  of 
them  is  in  the  Carmelite  Church  at  Palermo,  and 
the  other  in  the  Monastery  of  Fazello,  near  Sciacca. 
The  date  of  his  death  is  uncertain. 
Palermo.     La  Ganda.     Madonna  and  Child,  dated  1528. 

CRESCENZIO,  Aktonio,  a  native  of  Parma,  the 
dates  of  whose  birth  and  death  are  not  known, 
flourished  from  about  U17  to  1440.  He  painted  a 
fresco  in  the  hospital  of  Palermo,  representing 
'  Death  on  the  Pale  Horse  smiting  and  threatening 
the  rich  ones  of  this  world,  whilst  the  poor  and 
wretched  in  vain  beg  for  their  release.'  The  chapel 
of  the  Vanni  family,  close  to  the  church  of  Santa 
Maria  e  Gesu,  near  Palermo,  contains  the  remains 
of  wall-paintings  in  monochrome  representing 
difEerent  saints  assigned  to  this  artist.  In  the 
University  Gallery  of  the  same  city  there  is  a 
painting  by  him  of  the  '  Enthroned  JMadoima  and 
Saints,'  and  two  panels. 

CRESPI,  Antonio,  the  son  and  pupil  of  Giuseppe 
Maria  Crespi,  painted  much  for  the  churches  of 
Bologna.  He  died  in  1781.  A  picture  of  St. 
Francis  of  Paola  bj-  him  is  in  the  Bologna  Gallery. 

CRESPI,  Benedetto,  called  Busting,  a  native  of 
Busto  Arsizio,  near  Milan,  worked  in  Como  about 
the  middle  of  the  17th  century.  In  the  Pinacoteca 
at  Milan  is  a  '  Circumcision  of  Christ '  by  him ; 
and  the  Madrid  Gallery  has  a  '  Roman  Charity.' 
He  had  a  son,  Antonio  Maria,  who  was  his  pupil. 

CRESPI,  Daniele,  was  born  at  Busto  Arsizio, 
near  Milan,  in  1590,  a  id  was  first  a  scholar  of  Gio- 
vanni Battista  Crespi,  called  Cerano,  but  afterwards 
studied  under  Giulio  Cesare  Procaccini.  Although 
he  did  not  survive  his  fortieth  year,  he  undoubt- 
edly surpassed  his  first  instructor  ;  and,  according 

352 


to  Lanzi,  in  the  opinion  of  many,  ho  was  equal  to 
the  second.  He  was  an  able  artist  of  the  Milan- 
ese school,  though  little  known  except  in  his  own 
country.  •■  To  an  acute  and  penetrating  genius,  and 
an  uncommon  readiness  of  hand,  he  added  a  judg- 
ment that  enabled  him  to  take  advantage  of  the 
excellences  of  those  who  had  preceded  him,  and  to 
avoid  their  defects.  Although  he  never  frequented 
the  school  of  the  Carracci,  he  appears  to  have 
approved  and  adopted  their  principles  and  their 
practice.  In  the  expression  of  his  heads  he  is 
varied,  yet  select ;  and  is  particularly  admired  for 
the  fervid  devotion  expressed  in  the  character  of 
his  saints.  His  colouring  is  excellent,  both  in  oil 
and  in  fresco,  and  partakes  of  the  strength,  as  well 
as  of  the  amenity,  that  we  admire  in  Titian.  The 
most  esteemed  works  of  this  artist  are  the  '  Taking 
down  from  the  Cross,'  and  several  portraits  in 
fresco,  in  the  Chiesa  della  Passione  at  Milan  ;  and 
his  celebrated  series  of  pictures  of  the  Life  of  St. 
Bruno,  at  the  Certosa.  Nine  painrings  by  him  are 
in  the  Brera,  and  others  are  to  be  met  with  in  the 
palaces  and  churches  of  Milan  and  the  neighbour- 
ing towns,  as  well  as  in  the  following  galleries : 
Florence.     Fffizi.         An  Old  Beggar. 

„  „  His  own  Portrait. 

Madrid.        Gallery.       Pieta 

Vienna.       Gallery.      The  Angel  appearing  to  Joseph  in 
a  Dream. 

His  works  have  been  engraved  by  Weggers,  Fer- 
roni,  Longhi,  and  Felsing.  This  able  painter  was 
unfortunately  carried  oil,  in  the  prime  of  life,  with 
all  his  family,  by  the  plague  which  visited  Milan 
in  1630. 

CRESPI,  Giovanni  Battista,  was  born  at  Ce- 
rano, a  small  to^vn  near  Novara,  in  the  Milanese, 
in  1557,  and  is  frequently  called  II  Cerano.  He 
was  descended  from  a  family  distinguished  in  the 
art,  who  educated  him  for  the  learned  professions  ; 
and  he  was  a  student  of  great  promise  in  litera- 
ture and  science.  A  strong  attachment  to  paint- 
ing, however,  induced  him  to  follow  the  art  in 
which  his  family  had  acquired  its  celebrity.  He 
attended  the  school  of  Procaccini,  visited  Rome 
and  Venice,  and  established  himself  at  Milan,  where 
he  was  patronized  by  the  duke  and  by  Cardinal 
Federigo,  made  director  of  the  Academy,  and 
emplo3'ed  as  an  architect,  sculptor,  and  painter. 
In  his  works  as  a  painter  are  found  many  beauties, 
accompanied  by  unaccountable  defects.  His  style 
is  free  and  spirited,  and  his  colouring  harmonious ; 
but  his  design  is  occasionally  conceited  and  absurd, 
from  an  affectation  of  the  grand  and  the  graceful. 
Of  these  deficiencies  we  have  evidence  in  his 
pictures  in  the  Chiesa  della  Pace,  where  his  drawing 
of  the  nude  is  heavy  and  tasteless,  and  the  move- 
ment of  his  figures  distorted  by  the  violence  of 
their  attitudes.  His  merits,  however,  must  be 
allowed  to  outweigh  his  defects,  and  some  of  his 
works  may  be  compared  with  the  best  productions 
of  the  Milanese  school  at  his  time.  Such  is  his 
picture  of  the  '  Baptism  of  St.  Augustine,'  in  San 
Marco,  which  disputes  the  palm  with  Giulio  Cesare 
Procaccini,  and  in  the  judgment  of  some  is  superior. 
Soprani,  in  the  'Life  of  Sinibaldo  Soorza,'  says  that 
this  artist  excelled  in  painting  animals  and  birds, 
of  a  cabinet  size.  He  died  at  Milan  in  1633. 
Other  paintings  by  him  are  as  follow : 

An  Assembly  of  Franciscans. 
Madonna  del  Kosario. 
Christ  appearing  to  the  Apostles 
SS.  Peter  and  Paul. 


Berlin.       Gallery. 
Milan.       Brera. 
Vienna.     Gallery. 


THOMAS  CRESWICK 


Hanfstdngl  photo\ 


[Tate  Gallery,  London 


THE  PATHWAY  TO  THE  VILLAGE  CHURCH 


PAINTERS  AND  ENGRAVERS. 


CRESPI,  Giuseppe  Maria,  called  Lo  Spaqn0olo 
a  name  given  to  him  by  his  fellow-students  on 
account  of  the  finery  of  his  dress,  was  a  painter 
and  etcher,  bom  at  Bologna  in  1665.  He  studied 
first  under  A.  M.  Toni,  and  then  entered  the  school 
of  D.  M.  Canuti,  but  afterwards  passed  some  time 
under  C.  Cignani,  and  still  later  under  G.  A.  Bur- 
rini.  He  visited  Venice,  Parma,  and  Modena, 
where  he  painted  after  tlie  style  of  Barocci,  Guer- 
cino,  and  Pietro  da  Cortona.  Desirous  of  discover- 
ing and  establishing  a  new  mode  of  working,  he 
adopted  a  flimsy  method  of  colouring,  without 
solidity,  and  consisting  chiefly  of  glazing,  which 
has  occasioned  many  of  his  works  to  become  almost 
obliterated.  He  had  a  particular  talent  for  cari- 
cature ;  and  some  of  his  compositions  of  that  kind 
are  full  of  humour  and  eccentricity.  He  was  for 
some  time  in  the  employment  of  the  Grand-Duke 
Ferdinand,  for  whom  he  executed  several  works  in 
the  Pitti  Palace.  He  died  blind  at  Bologna  in 
1747.  There  are  many  of  his  pictures  in  the 
churches  and  palaces  of  Bologna,  besides  those 
in  the  under-mentioned  galleries  : 
Bologna.        S.  Niccold.  St.  Anthony  the  Abbot. 

„  Pinacoteca.  Madonna  with  Saints  and  Angels. 

Dresden         Gallery.       The   Virgin  and   Child,  and   St. 
John. 
Also  eleven  othern, 
Ferrara.         Gesii.  Swooning  of  St.  Stanislaus. 

Florence.      Pitti  Pal.    Holy  Family. 

„  ,,  Portrait  of  an  Old  Man. 

„  Uffizi.  His  own  Portrait. 

Munich.         Gallery.      A  weeping  Nun. 
Paris.  Louvre.        A  Schoolmistress. 

Petersburg.  Hermitage.  Holy  Family. 

„  „  Death  of  St.  Joseph. 

„  „  Portrait  of  Himself. 

Vienna.  Gallery.     The      Centaur    Chiron     teaching 

Achilles  to  shoot. 

,)  „  .^Jneas  and  the  Cumsean  Sibyl  on 

Charon's  Boat. 

Giuseppe  Maria  Crespi  has  etched  several  plates, 
some  of  which  bear  the  name  of  L.  Mattioli,  a 
friend  of  his,  whom  he  assisted  in  his  distress. 
The  following  are  among  the  number : 

The  Ma.'fsacre  of  the  Innocents. 

Two  plates  of  the  Resurrection  ;  in  the  style  of  Bembrandt. 

The  Miraculous  Crucifix  ot  Pistoja. 

St.  Anthony  ;  in  the  manner  of  Rembrandt. 

St.  Pascal. 

Five  plates  of  the  Trades ;  in  the  style  of  S.  Rosa. 

A  Shepherd  and  Shepherdess. 

The  Circumcision  ;  after  L.  Carracci. 

The  Nurse ;  after  Van  Dyck. 

Besides  Antonio,  he  had  two  sons  who  were  also 
artists :  LniGl,  who  held  certain  offices  in  the  papal 
court,  wrote  '  Vite  dei  Pittori  Bolognesi,'  1769,  and 
died  in  1779;  and  Feudinando,  a  Franciscan  monk, 
who  painted  miniatures,  and  died  in  1754. 

CRESPY,  Jean  and  Louis.     See  Ceepy. 

CRESTI,  DoMENico,  called  II  Passignano,  was 
born  at  Passignano,  near  Florence,  in  1558.  He 
was  first  a  scholar  of  Macchietti  and  of  Battista 
Naldini,  but  afterwards  studied  under  Federigo 
Zuccaro,  to  whose  style  his  own  is  more  conform- 
able. He  resided  some  time  at  Venice,  where 
he  received  instruction  from  Paolo  Veronese,  and 
became  so  fascinated  with  the  works  of  the  great 
masters  of  the  Venetian  school,  that,  according 
to  Boschini,  he  used  to  observe,  that  whoever 
had  not  seen  Venice  could  not  hope  to  become 
a  painter.  Though  neither  select  in  his  forms 
nor  correct  in  his  design,  he  is  ingenious  and 
abundant  in  his  compositions ;  and  in  the  splen- 
dour  of    his    costumes   and   the   richness   of   his 

A  A 


architecture  he  resembles  Paolo  Veronese  more 
than  does  any  other  of  the  Florentine  painters. 
He  sometimes  reminds  us  of  Tintoretto,  in  the 
strained  attitudes  of  his  figures,  and,  like  that 
master,  he  painted  many  of  his  pictures  with 
colours  so  thin  and  oily,  that  several  of  his  works 
have  perished.  Such  has  been  the  fate  of  his 
pictures  of  the  '  Crucifixion  of  St.  Peter,'  and  the 
'  Presentation  in  the  Temple,'  painted  for  the 
Basilica  of  St.  Peter,  in  the  pontificates  of  Paul  V. 
and  Urban  VIII.  There  are,  however,  some  of 
his  pictures  remaining,  which  are  painted  with  an 
excellent  impasto  of  colour.  Of  these  may  be 
mentioned  a  'Dead  Christ,'  in  the  Cappella  di 
Mondragone,  at  Frascati ;  a  '  Descent  from  the 
Cross,'  in  the  Palazzo  Borghese,  at  Rome ;  and 
'  Christ  bearing  the  Cross,'  in  the  UfiBzi,  at  Florence. 
His  extraordinary  facility  and  rapidity  of  execution 
won  for  him  the  nickname  '  Passa  ognuno,'  a  play 
upon  his  surname  of  'Passignano.'  He  died  in 
1638.    The  following  are  also  among  his  paintings  : 

Florence.  |  %^^^"^"  ]     The  Descent  of  the  Holy  Ghost 

„  Academy.  The  Assumption. 

„  Uffizi.  His  own  Portrait. 

„  „  Christ  bearing  the  Cross. 

Paris.  Louvre.  A  Miracle  of  the  true  Cross. 

^''•^'-  {  ielfataUe.  }      ^he  Assumption. 
Vienna.       Gallery.  Feast  of  Ahasuerus. 

CRESWICK,  Thomas,  a  landscape  painter,  was 
born  at  Sheffield  in  1811.  He  was  sent  when  very 
young  to  Birmingham,  where  he  became  a  pupil 
of  J.  V.  Barber.  He  went  to  London  in  1828, 
and  immediately  commenced  to  exhibit  at  the 
British  Institution,  and  at  the  Royul  Academy, 
to  both  of  wldch  he  was  henceforward  a  constant 
contributor.  His  early  works,  which  were  chiefly 
Welsh  scenes,  had  a  great  success,  and  in  1840  he 
began  to  exhibit  views  in  the  North  of  England. 
In  1842  he  was  awarded  a  premium  of  fifty  guineas 
by  the  directors  of  the  British  Institution  for  his 
general  excellence,  and  in  the  same  year  he  was 
elected  an  Associate  of  the  Roj'al  Academy:  nine 
years  later  he  became  an  Academician.  The  quiet 
beauties  of  inland  scenery,  and  more  especially 
scenes  with  rippling  streams,  quiet  riverside  nooks, 
and  glens  and  dells,  were  his  favourite  subjects, 
although  occasionally  he  painted  coast  scenes. 
His  power  in  the  delineation  of  aerial  perspective 
and  his  knowledge  of  the  effects  of  colour  were 
almost  equal  to  Turner.  Some  of  Creswick's  later 
pictures  were  painted  in  conjunction  with  Goodall, 
Elmore,  John  Phillip,  Frith,  and  Ansdell,  who 
introduced  the  figures  and  cattle.  He  was  an 
active  member  of  the  Etching  Club,  and  furnished 
many  charming  etchings  for  its  pubUcations ; 
notably  the  editions  of  Gray's  'Elegy,'  Milton's 
'  L'Allegro,'  and  Goldsmith's  '  Deserted  Village.' 
He  also  occasionally  drew  on  wood  blocks.  He 
died  in  London  in  1869,  and  was  buried  at  Kensal 
Green  Cemetery. 

The  following  are  some  of  his  principal  works: 

1839.    The  Pathway  to  the  Village  Chureh  (in    tite 
National  Gallery). 

1842.  Afternoon. 

1843.  Welsh  Glen. 

1844.  A  Scene  on  the  Tummel,  Perthshire  (:n  the  Souik 

Kensington  Museum). 

1844.  A  Summer's  Afternoon  (in  the  South  Kensington 

Museum). 
1S45.     A  Recollection  of  the  Alps. 

1845.  Rain  on  the  Hills. 

1846.  The  pleasant  way  home. 

353 


A  BIOGRAPHICAL  DICTIONARY  OF 


1847.    Eugland. 

1847.    The  London  Bead  a  fanndred  years  ago. 

1849.  Passing  Showers. 

1850.  The  Wind  on  shore. 
1850.    First  glimpse  of  the  Sea. 
1850.     Old  Trees. 

1850.  South  Downs  (the  sheep  are  by  Ansdell). 

1851.  The  VaUey  Mill. 

1851.  Over  the  Sands. 

1852.  A  Mountain  Lake — Moonrise. 
1854.     The  Blithe  Brook. 

1859.     The  Tillage  Bridge. 
1861.     In  the  North  Countrie. 

1864.  Across  the  Beck. 

1865.  Changeable  Weather. 

A  Dream  of  the  Future  {the  girl  i$  h/  Frith,  and 
the  dog  hy  Ansdell). 
Upwards  of  a  hundred  of  Creswick's  works  were 
exhibited  at  the  International  Exhibition  in  London 
in  1873. 

CRBTI,  DoNATO,  was  born  at  Cremona  in  1671, 
and  was  educated  at  Bologna,  under  Lorenzo 
Pasinelli,  whose  style  he  blended  with  an  imitation 
of  tlie  works  of  Siraone  Cantarini,  and  so  formed 
a  manner  which  has  little  claim  to  originality.  His 
colouring  is  distinguished  by  a  hardness  and 
crudity,  occasioned  by  his  never  properly  blending 
his  tints.  He  resided  chiefly  in  Bologna,  where  he 
painted  several  pictures  for  the  churches — for  San 
Pietro  an  altar-piece  of  '  St.  Charles  Borromeo  ask- 
ing Charity  for  the  Poor;'  for  San  Domenico,  'St. 
Vincent  of  Ferrara  resuscitating  a  Child  ;  '  for  San 
Luca,  the  '  Coronation  of  the  Virgin,'  one  of  hia 
best  works;  and  for  the  Mendicant!,  the  'Ador- 
ation of  the  Magi.'  In  the  Palazzo  Pubblico,  he 
painted  four  pictures  of  the  'Life  of  Achilles' 
and  other  works.  He  was  also  employed  in  the 
churches  at  Rimini,  Bergamo,  Lucca,  and  Palermo. 
The  Bologna  Gallery  possesses  a  'Coronation  of 
Charles  V.  at  Bologna'  by  him.  He  died  at 
Bologna  in  1749. 

CKEUSE,  Adguste  de,  a  French  portrait  painter, 
who  was  born  at  Montrond  (Doubs)  in  1806,  and 
died  in  Paris  in  1839.  He  was  a  pupil  of  Gros, 
and  painted  many  of  the  historical  portraits  which 
are  at  Versailles. 

CBEUTZFELDER,  Johann,  a  portrait  painter, 
was  born  at  Nuremberg  in  1570.  He  was  a  scholar 
of  N.  Juvenel,  and  painted  also  historical  subjects. 
His  paintings  representing  Martyrdoms  are  beauti- 
fully executed.  He  died  at  Nuremberg  in  1636. 
There  are  by  him  : 

Nuremberg.  5'.  Sehaldus.   Adam  and  Eve.     1603. 
Vienna.         Gallery.         The  Martyrdom  of  St.  Ignatius. 

He  signed  his  portraits  with  this  monogram      Qi 

CREVOISIER,  M.4RIE  Jeanne.     See  Clemens. 

CRISCUOLO,  Giovanni  Angelo,  was  the  younger 
brother  of  Giovanni  Filippo  Criscuolo.  Although 
he  showed  an  early  inclination  for  art,  his  father 
would  not  permit  him  to  make  it  his  profession, 
but  obliged  him  to  follow  the  business  of  a  notary. 
On  the  death  of  his  father,  the  reputation  his 
brother  had  acquired  induced  him  to  abandon  his 
occupation,  and  place  himself  under  the  tuition 
of  Marco  di  Pino  da  Siena,  by  whose  instruction  he 
became  a  reputable  artist.  Dominici  describes 
many  of  his  works  in  the  churches  at  Naples, 
among  which  is  an  altar-piece  in  the  church  of 
San  Stefano,  representing  the  '  Martyrdom  of  St. 
Stephen ' ;  in  Monte  Calvario,  a  picture  of  the 
'Virgin  and  Infant,  with  St.  Jerome,'  dated  1572; 
in  San  Severino,  an  '  Annunciation  ; '  and  in  San 
Giacomo  degli  Spagnuoli,  an  'Assumption  of  the 

354 


Virgin.'  He  wrote  a  '  History  of  the  Neapolitan 
Artists  to  1569.'  The  exact  date  of  his  death  is 
not  known  ;  some  say  about  1580. 

CRISCUOLO,  Giovanni  Filippo,  was  bom  at 
Gaeta  in  1495.  He  was  instructed  in  painting  by 
A.  Sabbatini,  but  afterwards  devoted  his  attention 
rather  to  the  works  of  Perino  del  Vaga.  He  died 
at  Naples  in  1584.     His  best  works  are  as  under : 

Naples.    iS.  Patrizia.    The  Adoration  of  the  Magi. 

S.M. Donna  \The  Death,  Ascension,  and  Coro- 
Eegina.     J      nation  of  the  Virgin. 

CRISCUOLO,  Makiangiola,  who  married  Gio- 
vanni d'Amato  the  younger,  is  apparently  known 
only  by  some  finely-executed  '  Madonnas '  in  two 
of  the  churches  of  Naples. 

CRISPI,  Scipione,  was  a  Piedmontese  painter, 
born  at  Tortona,  who  flourished,  according  to 
Lanzi,  from  the  year  1592  till  1599.  It  is  uncer- 
tain by  whom  he  was  instructed;  but  he  was  an 
artist  of  considerable  merit,  as  is  evident  from  his 
picture  of  the  '  Visitation  of  the  Virgin  to  St.  Eliza- 
beth,' in  the  church  of  San  Lorenzo,  at  Voghera, 
and  an  altar-piece  at  Tortona  of  '  SS.  Francis  and 
Dominic'  which  is  dated  1592. 

CRISPINUS.    See  Van  den  Broeck. 

CRISTALL,  Joshua,  was  born  in  1767  at  Cam- 
bourne  in  Cornwall.  His  father  was  Scotch,  and 
was  bitterly  opposed  to  his  son's  artistic  tastes,  but 
his  mother  secretly  aided  him  in  his  struggles  to 
study  art.  He  was  first  apprenticed  to  a  china 
dealer  at  Rotherliithe,  but,  finding  that  business  too 
irksome,  he  left  both  his  master  and  his  home,  and 
went  to  the  Potteries,  where  he  found  some  em- 
ployment as  a  china  painter.  Finding  this  too 
monotonous,  he  came  to  London,  and  commenced 
a  life  of  great  privations  and  hard  efforts  to  study 
the  tine  arts.  It  is  said  that  at  this  period  of  his 
life  he  seriously  injured  his  health  by  trying  to  live 
for  a  year  on  nothing  else  but  potatoes  and  water. 
Aided  in  secret  by  his  mother,  who  shared  in  and 
had  herself  directed  his  taste  for  classic  art,  he 
persevered  in  his  endeavours,  and  finally  gained 
admission  to  the  school  of  the  Royal  Academy, 
where  he  made  rapid  progress.  He  became  per- 
sonally known  to  Dr.  Monro,  and  visited  at  his 
house,  where  he  met  the  rising  water-colour  artists 
of  that  day.  At  the  foundation  of  the  Society 
of  Painters  in  Water-Colours  in  1805,  be  first  pub- 
licly exhibited  his  works,  and  continued  to  do  so 
for  many  years.  He  was  one  of  the  foundation 
members  of  this  society,  and  afterwards  became  its 
President,  and  was  always  its  warm  and  active 
supporter.  In  1822,  finding  his  health  much  im- 
paired, Cristall  went  to  Goodrich  on  the  Wye, 
where  he  had  already  bought  a  house,  and  where 
he  spent  many  happy  years  until  the  loss  of 
his  wife,  who  died  in  1840,  drove  him  again  to 
London,  where  he  died  in  1847.  His  body  was 
carried  to  Goodrich,  and  buried  by  the  side  of  his 
wife,  at  his  own  earnest  request.  Cristall's  usual 
subjects  in  his  early  years  were  classical  figures  with 
landscapes,  such  as  his  '  Lycidas,'  '  Judgment  of 
Paris,'  '  Hylas  and  the  Nymphs,'  and  '  Diana  and 
Endymion,'  but  he  afterwards  produced  genre  sub- 
jects and  rustic  groups.  About  1813  he  tried  portrait 
painting,  generally  small  full-lengths  with  landscape 
backgrounds,  in  which  he  used  no  body-colour.  As 
a  water-colour  painter  Cristall  will  always  hold  an 
honourable  position  from  the  freedom  and  sim- 
plicity of  his  style  and  manner  of  execution.  Five 
of  his  drawings,  viz.  '  The  Young  Fisher-Boy,'  '  The 
Fish  Market  on  Hastings  Beach,'  and  three  others. 


CARLO  CRIVELLI 


Hanjstdngl  photo] 


[National  Gallery,  Londo7i 


THE  ANNUNCIATION 
i486 


PAINTERS  AND  ENGRAVERS. 


are  in  the  South  Kensington  Museum.  Cristall  was 
one  of  the  early  members  of  the  Sketching  Society  : 
he  also  furnished  some  of  the  classical  figures  in 
Barret's  landscapes,  as  well  as  some  of  the  groups 
in  Robson's  '  Scotch  Scenery.' 

CRISTIANI,  Giovanni  di  Bartolommeo,  who 
lived  at  Pistoja  in  the  14th  century,  is  thought 
by  Ciampi  to  have  been  employed  at  the  Campo 
Santo  of  Pisa  in  1382.  He  is  known  to  have 
painted  a  '  Virgin  and  Child  between  SS.  Nicholas 
and  John  the  Baptist'  in  the  Oratorio  dei  Nerli  at 
Montemurlo.  His  last  work,  which  is  now  lost, 
was  the  decoration  of  a  church  in  Pistoja,  which 
was  begun  in  1396  and  finished  in  1398.  Very 
little  remains  of  this  artist's  productions,  and  no 
exact  date  is  known  of  his  death.  In  the  Sacristy 
of  San  Giovanni  Evangelista  at  Pistoja  there  is  a 
painting  by  him  of  '  St.  John  the  Baptist  enthroned 
with  Angels'  (1370). 

CRISTOFANO,  a  painter  of  Bologna,  aided 
Jacopo  and  Simone  in  the  production  of  a  series 
of  frescoes,  completed  in  1404,  in  the  church  of 
the  Madonna  della  Mezzaratta  in  tliat  city. 

CRISTOFORO,  Babio,  and  Pietbo  Paolo,  two 
artists,  father  and  son,  who  were  the  founders  of  the 
mosaic  school  in  the  Vatican  during  the  pontificate 
of  Clement  XI.  (1700—1721),  are  deserving  of 
notice  for  the  perfection  to  which  they  carried  that 
art.  They  executed  in  the  Basilica  of  St.  Peter, 
from  the  originals,  the  '  Communion  of  St.  Je- 
rome,' after  Domenichino  ;  '  St.  I'etronilla,'  after 
Guercino ;  the  '  Baptism  of  Christ,'  after  Carlo 
Maratti ;  and  other  works.  Pietro  Paolo  Cristoforo 
died  in  1740. 
CRISTOFORO  DA  BOLOGNA.  See  Bologna. 
CRISTOFOUO  DA  PARMA.  See  Casklli. 
CRISTUS,  Peter.  Born  at  the  beginning  of  the 
fifteenth  century  at  Baerle,  a  village  between 
Eoogstraaten  and  Tilborg  in  N.  Brabant.  It  is 
not  known  where  he  learned  his  art.  He  settled 
in  Bruges  in  1444,  became  a  burgher  by  purchase, 
and  was  admitted  as  master  into  the  Guild  of  Saint 
Luke.  In  1461  he  and  his  wife  became  members 
of  the  confraternity  of  Our  Lady  of  the  Dry 
Tree.  He  died  at  Bruges  in  1473.  His  earliest 
known  painting  is  a  portrait  of  Edward  Griniston 
dated  1446,  in  the  possession  of  Lord  Verulam. 

The  B.  Virgin  and  Child  enthroned.  Saints  Jerome  and 

Francis.     1417.     {Staedel  Institute,  Franlcfort.) 
A  scene  from  the  legend  of  Saint  Godebeita.    1449. 

{Baron  A.  Oppenheim^  Cologne.) 
The  Annunciation,  Nativity  and  Last  Judgment.  1452. 

{Museum^  Berlin.) 
Our  Lady  of  Grace,  one  of  three  copies  of  a  painting 

in  the  cathedral  of   Cambrai,  executed  by  Cristas. 

1454.     {Hospital,  Cambrai.) 

In  1463  Cristus  designed  and  painted  a  large 
representation  of  the  Tree  of  Jesse  which  for  more 
than  a  century  was  carried  in  the  annual  procession 
of  the  Holy  Blood.  Cristus  is  generally  said  to 
have  been  a  pupil  of  Hubert  or  John  van  Eyck, 
but  of  this  there  is  no  proof.  A  carpet,  cloth  of 
honour  and  purse  which  figure  in  his  pictures  are, 
it  is  true,  identical  with  those  in  paintings  by  the 
Van  Eycks,  but  this  only  shows  that  Cristus  may 
have  purchased  these  properties  or  coloured 
sketches  of  them  after  John  van  Eyck's  death. 
(See '  Le  Befi'roi,'  1863,  and  Crowe  and  Cavalcaselle's 
'  Early  Flemish  Painters,'  1872.) 

CKIVELLARI,  Bartolommeo,  was  a  Venetian 
engraver,  born  in  1725.  He  was  a  pupil  of  Joseph 
Wagner,  for  whom   he   executed   several  plates, 

A  A  2 


after  Gherardini,  Tiarini,  and  Tiepolo.     We  have 
by  him  the  following  : 

The  Portrait  of  Christian,  Electoral  Prince  of  Saxony. 
The  Portrait  of  the  Archduchess  of  Austria. 
Three  Portraits  from  the  Life  of  St.  Pietro  Petronio. 
Four  Plates  of  musical  and  gallant  Assemblies;  after 

Nicrolb  delV  Ahhaie. 
The   Canonization   of   St.  Alexander  Saul ;   after  M. 

Bartoloni. 

CRIVELLI,  Angioi.o  Maria,  called  Crivel- 
LONE,  was  a  native  of  Milan,  who,  acsording  to 
Orlandi,  painted  animals  and  hunting-scenes  with 
surprising  truth  and  spirit,  and  was  considered  one 
of  the  able.st  painters  of  those  subjects  whom  his 
country  had  produced.  He  died  in  1730.  Two 
pictures  of  ruins  by  him,  with  figures  by  Alessan- 
drino,  are  in  the  Dresden  Gallery;  and  the  Breia, 
Mil.an,  has  a  '  Portrait  of  a  Huntsman  '  by  him. 

CRIVELLI,  Carlo,  who  was  probably  born  at 
Venice  between  1430  and  1440,  is  likely  to  have 
been  the  pupil  of  Antonio  and  Bartolommeo  da 
Murano.  Ridolfi  says  that  he  derived  his  instruction 
from  Jacobello  dei  Fiori,  but  this  statement  cannot 
be  correct,  as  Jacobello  flourished  too  long  before. 
There  is  a  '  Virgin  and  Child,'  formerly  in  the  con- 
vent of  San  Lorenzo,  and  now  in  the  Museum  of 
Verona,  which  is  one  of  his  earliest  productions,  and 
which  much  recalls  the  two  above-named  artists. 
For  over  twenty-two  years  he  seems  to  have  almost 
exclusively  worked  in  those  cities  which  lie  in  the 
Marches  of  Ancona,  between  Potenza  and  Tronto. 
In  the  sacristy  of  San  Silvestro,  Massa,  is  an  altar- 
piece  of  his  in  tempera,  now  hanging  in  detached 
pieces,  signed  and  dated  1468.  The  catliedral  of 
Ascoli  has  a  '  Virgin  and  Child  between  SS.  Peter, 
John  the  Baptist,  Emidius,  and  I'aul,'  dated  1473. 
In  1476  he  completed  the  great  altar-piece,  in  tem- 
pera, for  San  Domenico,  at  Ascoli,  now  in  the  Na- 
tional Gallery,  London.  In  1490  he  was  knighted 
by  Prince  Ferdinand  of  Capua,  and  immediately 
afterwards  in  a  picture  which  he  painted  for  the 
Odoni  Chapel,  in  San  Francesco  of  Matelica,  he 
signed  himself  Crivellus,  Venetus  Miles,  and  never 
afterwards  omitted  the  title  on  his  pictures.  His 
latest  painting  is  the  '  Coronation  of  the  Virgin, 
with  Saints,'  dated  1493,  now  in  the  Oggioni  Col- 
lection at  Milan.  The  exact  date  of  his  death  is 
unknown.  There  are  many  paintings  by  this  artist 
in  English  and  Continental  galleries.  They  are 
all  in  tempera.     Amongst  them  are  : 


Ancona.        Podestd. 

Madonna. 

Ascoli.          Cathedral 

The  Tweh'e  Apostles.     1473. 

Pieta. 

Berlin.           GalUi-y. 

Madonna  and  Saints.     1491. 

Brussels.      Museum. 

Madonna, 

11 

St.  Francis  of  Assisi. 

Frankfort.  Stiidel  Inst 

The  Annunciation. 

London.      Aat.  Gull. 

The  Dead  Christ. 

^, 

The  Beato  Ferretti. 

ft                    }t 

Madonna    and   Child    entliroiied, 

witli  SS.  Jerome  and  Sebastian, 

The  Annunciation.     1486. 

» 

Madonna  and    Child   enthroned, 

surrounded  by  Saints  {an  altar- 

piece  in  three stayes  and  thirteen 

compartments).     1476. 

^j 

Madonna    and    Child    enthroned. 

1491. 

1*                    » 

Madonna  in  ecstasy.     1492. 

SS.    Catharine  and    Mary   Mag- 

dalene. 

„  Lord  Northhrook 

A  Pieta. 

Milan,         Brera. 

Virgin  and  four  Saints.     1482. 

1)                » 

Virgin  and  Child 

Various  Saints. 

355 

A   BIOGRAPHICAL   DICTIONARY   OF 


Paris.        Louvre.         St.  Bernardino  of  Siena.     1477. 

Pieta. 
Pesth.  Esterhazy  Gall.  Madonna  and  Child. 
Borne.        Tatican.       Pieta. 

„     Lateran  Jfus.    Virgin  and  Saints. 

„  „  Madonna. 

(See  Criv.'lli,  by  G.  M.  Riishforth  :  Lond.,  1900.) 

CRIVELLI,  Jacopo,  the  son  of  Angiolo  Maria 
Crivelli,  painted  birds  and  fisli.  He  worked  much 
at  the  court  of  Parma,  and  died  in  1760. 

CRIVELLI,  Taddeo,  a  miniature  painter  of 
Ferrara  in  the  15th  century,  was  engaged  from 
1455  to  1461,  in  company  with  Franco  de'  Russi, 
in  painting  the  pictures  in  the  costly  Bible  of 
Uuke  Borso  of  Ferrara ;  he  also  illustrated  a  num- 
ber of  other  works.     He  died  about  1484. 

CRIVELLI,  ViTTOEio,  was  a  relation,  some  say 
a  brother,  of  Carlo  Crivelli,  and  learned  his  art 
from  him.  He  lived  in  the  15th  century,  and 
closely  imitated  his  namesake.  At  Fermo,  in  the 
possession  of  Cavaliere  Vinci,  is  an  altar-piece 
signed  and  dated  by  him  in  1481.  In  the  church 
of  Santa  Maria  del  Pozzo,  Monte  San  Martino,  the 
altar-piece  representing  the  'Virgin  enthroned,  the 
Cliild  giving  the  keys  to  St.  Peter,'  is  dated  1489  ; 
and  at  Alia  Matrice  in  the  same  town,  the  altar- 
piece  by  him  is  dated  1490.  The  South  Kensing- 
ton Museum  possesses  a  '  Virgin  and  Child.'  with 
other  subjects,  painted  by  Vittorio  Crivelli.  A 
'  Birth  of  Christ,'  and  various  Saints,  bj'  him,  are 
in  tlie  Brera.  Milan.  No  dates  are  known  as  to  his 
birth  or  death. 

CRIVELLONE.     See  Crivelli,  Angiolo  Maria. 

CROCE,  Baldassare,  was  bom  at  Bologna  in 
1563.  He  was  instructed  by  Bartolommeo  Passa- 
rotti,  and  visited  Rome  during  the  pontificate  of 
Gregory  XIII.,  by  whom  he  was  employed  in  the 
Vatican.  He  painted  with  great  power  and  free- 
dom, both  in  oil  and  fresco.  His  principal  works 
at  Rome  are  the  cupola  of  the  chapel  of  San 
Francesco  in  the  church  of  the  Gesii ;  the  vault 
of  the  choir  in  St.  John  Lateran :  and  the  '  His- 
tory of  Susannah,'  in  the  church  of  her  name.  He 
executed  also  some  paintings  in  the  town-hall  at 
Viterbo.     He  died  at  Rome  in  1638. 

CROCE,  Sakta.    See  Santa  Crock. 

CROCE,  Teodoro  della.    See  Verkruts. 

CROCIFISSAJO,  Girolamo  del.     See  Macchi- 

ETTI. 

CROCIFISSI,  SiMONE  DEI.    See  Bologka,  Simone 

DA. 

CROISEY,  P.,  a  French  line-engraver  and  pub- 
lisher, who  worked  at  Versailles,  and  died  at  the 
commencement  of  the  present  century,  executed  a 
large  number  of  maps.  He  also  engraved  an  oval 
medallion  of  Queen  Marie  Antoinette,  when  Dau- 
phiness  of  France,  which  is  one  of  the  best  portraits 
extant  of  the  youthful  princess. 

CROISIER,  Marie  Anne,  a  French  engraver, 
born  in  1765,  was  a  pupil  of  Augustin  de  Saint- 
Aubin.  She  at  first  engraved  some  subjects  after 
the  old  masters,  but  these  she  abandoned  for  poli- 
tical pieces  in  the  days  of  the  Revolution.  There 
is  by  her  a  beautifully  executed  plate  representing, 
in  three  small  medallions,  the  Duke  of  Orleans,  the 
Duke  of  Chartres  (Philippe  Egahte),  and  the 
Duchess  of  Chartres. 

CROLA,  Georg  Heineich,  a  Geiman  landscape 
painter,  was  bom  at  Dresden  in  1804.  He  went  to 
Munich  in  1830,  and  was  until  1840  a  prominent 
member  of  the  group  of  landscape  painters  estab- 
lished in  that  city.     In  the  latter  j-ear  he  married 

356 


and  settled  in  the  Harz,  where  he  died  at  Ilsenburg 
in  1879. 

CROLL,  Francis,  was  bom  at  Edinburgh  in  1827, 
and  was  first  articled  to  an  engraver,  naturalist, 
and  excellent  draughtsman  of  that  city,  named 
Dobbie.  He  was  subsequently  placed  with  R.  C. 
Bell,  with  whom  he  remained  two  years.  Besides 
his  labours  for  Bell,  CroU  had  found  time  to  attend 
the  drawing  lessons  given  by  Sir  William  Allan,  the 
then  director  of  the  schools  of  the  Scottish  Academy, 
by  which  he  greatly  profited.  Besides  the  por- 
traits with  which  he  was  entrusted  by  the  publishers 
of  Edinburgh  for  their  various  works,  Croll  en- 
graved '  The  Tired  Soldier,'  after  Goodall,  for  the 
Vernon  Gallery.  The  Scottish  Society  for  the 
Encouragement  of  Art  commissioned  him  to 
tngrave  one  of  the  series  of  plates  from  the  designs 
of  John  Faed  for  '  The  Cottar's  Saturday  Night,' 
but  this  unhappily-  he  was  not  able  to  complete 
before  his  death,  which  took  place  in  1854. 

CROME,  John — or  '  Old  Crome,'  as  he  is  usually 
styled  to  distinguish  him  from  his  eldest  son,  John 
Bemay  Crome,  who  was  also  a  painter — was  bom 
in  a  small  public-house  in  Norwich,  in  1769.  His 
father  was  a  joume3-man  weaver  by  trade,  and  his 
early  surroundings  were  of  the  poorest  description, 
and  it  is  not  likely  that  he  received  more  than  the 
mere  rudiments  of  education.  At  twelve  years  of 
age  he  started  in  life  for  himself  in  the  capacity  of 
errand-boy  to  Dr.  Rigby,  a  physician  in  Norwich ; 
but  finding  the  distribution  of  medicine  an  unsatis- 
factory employment  for  his  youthful  energies,  he 
soon  gave  it  up,  and  of  his  own  accord  apprenticed 
himself  for  seven  years  to  a  certain  Frank  Whisler, 
a  house  and  sign  painter  in  Norwich.  Here  he 
learnt  the  use  of  the  brush,  and  quickly  became 
ambitious  of  applying  it  to  other  subjects  than 
the  painting  of  cornices  and  coaches.  After  his 
apprenticeship  was  over  he  worked  for  a  time  as 
joumejTnan  to  Whisler,  and  is  said  to  have  been 
the  first  painter  who  practised  graining  in  imitation 
of  the  natural  marks  in  wood.  During  this  period 
he  formed  an  intimate  friendship  with  Robert  Lad- 
brooke,  who  was  then  an  apprentice  to  a  printer. 
The  two  youths  spent  all  their  spare  time  in  draw- 
ing and  studying  together,  sometimes  from  old 
prints,  but  more  often  from  nature. 

Among  Crome's  earliest  patrons  were  Sir 
William  Beechey,  and  a  Mr.  Harvey,  who  let  him 
copy  from  his  collection  of  Flemish  and  Dutch 
paintings.  Whenever  Crome  went  to  London  he 
passed  a  great  part  of  his  time  in  Beechey 's 
painting-room,  gaining  all  the  practical  instruc- 
tion he  could.  He  was  also  patronized  by  Mr. 
John  Gumey,  of  Earlham,  and  Mr.  Dawson 
Turner  :  but  in  spite  of  the  help  afforded  by  these 
and  a  few  other  Norfolk  gentlemen,  it  is  to  be 
feared  that  Crome  had  a  hard  struggle  before 
assuring  a  position.  He  found  himself  obhged 
to  devote  more  and  more  time  to  teaching,  which 
brought  him  for  a  long  period  far  better  remunera- 
tion than  landscape  painting.  Insensibly,  also, 
it  brought  him  into  greater  local  repute,  for  it 
made  him  known  in  many  families  of  high  stand- 
ing around  Norwich,  who  commissioned  pictures 
and  spread  his  fame  at  all  events  in  his  own 
county,  and  he  became  the  founder  of  the  only 
local  school  of  painting  in  England  of  any  import- 
ance. He  was  not  even  an  exhibitor  at  the  Royal 
Academy  until  1806,  and  during  the  whole  of  his 
career  the  total  number  of  his  works  sent  for  ex- 
hibition amounted  only  to  fourteen. 


VITTORIO  CRIVELLI 


[  Torre  di  Piilme 
MADONNA  AND  CHILD 


PAINTERS  AND  ENGRAVERS. 


After  a  time  he  achieved  a  large  local  celebrity, 
and  his  paintings  were  quickly  sold  to  Norfolk  pur- 
chasers without  the  trouble  of  sending  them  to 
London.  He  never,  it  is  true,  got  a  very  high 
price  for  his  works,  fifty  pounds  being,  it  would 
seem,  about  as  much  as  he  usually  got  for  a  finely 
finished  work,  even  to  the  end  of  his  life  ;  but  he 
managed  to  win  a  comfortable  independence,  and 
to  live  in  respectable  style  in  his  native  city. 

In  1803,  Crome,  in  conjunction  with  several 
amateurs  and  a  number  of  young  artists  whom 
he  had  by  this  time  gathered  around  him,  founded 
what  was  called  "  The  Norwich  Society  of  Artists," 
for  the  purpose  of  encouraging  a  love  of  the  Fine 
Arts  and  promoting  artistic  culture. 

The  first  exhibition  of  the  Norwich  Society  w,ns 
held  in  1805,  two  years  after  its  commencement. 
It  contained  223  works  in  oil  and  water-colour,  and 
several  specimens  of  sculpture  and  engraving. 
Twenty-three  of  these  works  were  contributed  by 
Crome,  who,  it  would  seem,  must  have  been 
travelling  about  this  time,  for  among  the  subjects 
enumerated  are  '  A  Scene  in  Cumberland,'  '  Interior 
of  Tintern  Abbey,'  '  View  of  Piercefield-on-the- 
Wye,'  'Part  of  Chepstow  Castle,'  'Part  of  the 
Chapel  in  Chepstow  Castle,'  and  '  Waterfall  at  St. 
Michael's-le-Flemings,  Westmoreland,'  against 
which  last  is  noted  in  the  catalogue  "  coloured 
on  the  spot."  By  this  it  would  appear  that  the 
painting  in  question  was  in  water-colours ;  for 
Crome,  strange  to  say,  seldom  painted  in  oils  out 
of  doors.  He  made  careful  studies  and  sketches 
from  nature,  and  must  have  been  gifted  with 
remarkable  powers  of  observation,  for  he  rarely 
misses  any  detail  of  sky,  stream,  or  leaf ;  but  his 
pictures  nevertheless  were  painted  in  his  studio, 
like  those  of  his  prototj'pes,  the  Dutch  landscapists. 

Crome  travelled  a  little  in  England  and  Wales  at 
various  times,  as  may  be  seen  by  the  places  repre- 
sented ;  and  once,  in  1814,  he  extended  his  journey- 
ing to  Paris,  going  by  way  of  Belgium,  where  he 
must  have  found  the  scenery  familiar,  though  the 
only  record  he  appears  to  have  made  of  it,  beyond 
slight  sketches,  is  his  '  View  on  the  Ostend  Canal 
at  Bruges,'  a  fine  moonlight  effect,  that  was  evi- 
dently noted  on  the  spot  and  afterwards  reproduced. 
About  this  time  lie  painted  the  '  Boulevard  des 
Italiens,  Paris,'  and  the  '  Fish-market  on  the  Beach 
at  Boulogne.' 

Crome  was  now  in  the  receipt  of  a  good  income, 
for  although,  as  before  s:iid,  he  never,  even  to  the 
last,  obtained  high  prices  for  his  pictures,  he  painted 
a  great  many,  contributing  generally  eighteen  to 
twenty  different  works  to  the  Norwich  Society's 
annual  exhibition. 

In  1810  he  was  elected  President  of  the  Norwich 
Society  ;  John  Sell  Cotman,  the  second  best  artist 
of  the  school,  being  associated  with  him  as  Vice- 
President.  Among  the  members  were  now  to  be 
reckoned  such  men  as  James  Stark,  George  Vincent, 
Joseph  Stannard,  John  Thistle,  the  etchers  Edmund 
and  Richard  Girling,  and  John  Bemay  Crome,  all 
of  whom  accomplished  good  work  as  landscapists 
under  Crome's  influence.  In  1816,  however,  there 
came  a  secession  from  this  flourishing  little  Society, 
and  a  separate  exhibition  at  the  Assembly  Rooms 
Plain. 

It  was  from  the  midst  of  society  such  as  this, 
from  a  busy,  jolly  artist  life,  that  Crome  was  called 
away  on  the  22nd  of  April,  1821,  after  a  few  days' 
illness.  His  last  words  are  said  to  have  been, 
"  Hobbema,  my  dear  Hobbema,  how  I  have  loved 


you  1  "  An  exhibition  of  his  paintings  was  held  in 
Norwich  shortly  after  his  death,  when  one  hundred 
and  eleven  of  his  works  were  gathered  together, 
including  those  that  remained  unsold  in  his  studio. 
But  even  this  exhibition,  though  it  greatly  increased 
his  local  fame,  did  not  make  him  more  known  to 
the  world  at  large,  and  thus  it  has  happened  that 
up  to  the  present  day  almost  all  his  pictures  have 
remained  as  cherished  possessions  in  Norfolk 
homes,  very  few  comparatively  having  found  their 
way  into  the  market.  In  1878,  at  the  Winter 
Exhibition  at  the  Royal  Academy,  there  were  no 
less  than  twenty-seven  of  his  works  exhibited. 
They  attracted  much  attention  and  high  praise. 

Of  his  extensive  landscapes,  embracing  generally 
afar-reaching  view  over  heath  and  hill,  with  a  wind- 
mill or  two  to  give  human  interest  to  the  scene,  the 
well-known  picture  of  '  Household  Heath,'  in  the 
National  Gallery,  may  be  taken  as  a  good  example. 
This  was  painted  about  the  year  1816,  and  shows 
his  powers  at  their  full.  He  painted  it,  as  he  once 
remarked,  for  the  sake  of  "  air  and  space ;  "  and, 
in  truth,  we  feel,  in  looking  at  it,  that  here  there 
is  plenty  of  room  in  which  to  breathe. 

The  National  Gallery  also  possesses  a  '  View  at 
Cliapel-Fieliis,  Norwich,'  wherein  the  chequered 
sunlight  falling  through  the  trees  has  a  very 
delightful  effect;  'The  Windmill,'  a  pleasant 
country  scene,  painted  with  forcible  realism  and 
thorough  understanding  of  light  and  shade ;  and 
the  solemn  and  somewhat  dreary  '  Slate  Quarries.' 

In  his  etchings — for  we  must  regard  Crome  as 
an  etcher  as  well  as  a  painter — he  dealt  chiefly 
with  woodland  and  river  scenes.  Nothing  can.  in 
its  way,  be  much  more  perfect  than  his  rendering 
in  etching  of  the  little  bits  of  picturesque  beauty 
that  he  met  with  in  his  daily  walks.  His  etchings, 
chiefly  done  for  his  own  delight,  were  not  pub- 
lished until  after  his  death,  when  thirty-one  were 
collected,  and  a  small  number  worked  off  for  the 
benefit  of  his  widow,  under  the  title  of  '  Norfolk 
Picturesque  Scenery.'  Another  edition,  in  which 
some  of  the  plates  were  re-bitten  by  Ulr.  Ninham, 
and  others  re-touched  by  Mr.  Edwards,  appeared 
in  1838,  with  an  Essay  by  Dawson  Turner.  There 
is  a  fine  collection  of  Crome's  etchings  in  the 
British  Museum,  most  of  them  being  represented 
in  two,  or  three,  and  sometimes  in  four  different 
states. 

CROME,  John  Bep.nay,  the  son  of  '  Old  Crome,' 
was  born  in  1793  at  Norwich,  and  was  educated 
as  a  painter.  He  first  exhibited  in  his  native 
city,  but  from  1811  until  the  close  of  his  life 
he  was  an  occasional  contributor  to  the  Royal 
Academy.  He  died  in  1842  at  Yarmouth,  where 
he  had  resided  for  some  years.  His  works  are 
similar  in  style  to  those  of  his  father,  but  are  far 
inferior. 

CROMEK,  Robert  Hartley,  was  the  son  of 
Thomas  Cromek,  of  Berwick-in-Elmete,  Yorkshire, 
and  was  born  at  Hull  in  1771.  He  was  originally 
intended  for  the  law,  but  showed  so  much  aversion 
to  that  profession  that  he  was  permitted  to  follow 
his  own  strong  inclinations  for  literature  and  the 
fine  arts.  He  first  went  to  Manchester,  and  there 
studied  hard  for  some  time,  when,  showing  an  evi- 
dent taste  and  talent  for  engraving,  he  was  sent  to 
London  and  put  under  Bartolozzi's  care.  He  en- 
graved many  of  Stothard's  designs  for  book-plates, 
which  was  then  about  the  only  work  engravers 
could  find  to  do.  He  also  engraved  the  '  Can- 
terbury Pilgrims,'  concerning  which  he  laboured 

357 


A   BIOGRAPHICAL   DICTIONARY   OF 


for  some  time  under  the  false  imputation  of  having 
first  seen  Blake's  design  for  that  subject,  and  then 
induced  Stothard  to  draw  it  for  him  as  a  speculation 
in  engraving.  Among  Cromek's  works  may  be  men- 
tioned the  illustrations  to  Blair's  'Grave' ;  those  in 
'The  Reliques  of  Robert  Burns,'  published  in  1808  : 
and  those  in  'The  Remains  of  Nithsdale  and 
Galloway  Song,'  published  in  1810  ;  also  the  plates 
in  Gesner's  works,  after  Stothard,  and  tlie  plates  in 
Sharpe's  edition  of  '  The  Spectator.'  He  died  in 
London  in  18r2. 

CROMEK,  Thomas  Hartley,  the  eon  of  Robert 
H.  Cromck,  was  born  in  London  in  1809.  His  first 
instructor  in  art  was  James  Hunter,  a  portrait 
painter  at  Wakefield  ;  but  in  1826  he  went  to 
Leeds,  and  there  studied  landscape  painting  under 
Joseph  Rhodes,  an  artist  of  considerable  ability, 
and  also  instructed  himself  in  anatomical  drawing. 
In  1830  he  decided  to  go  to  Italy  for  the  purpose 
of  perfecting  himself  by  the  study  of  the  great 
masters.  He  passed  through  Belgium,  the  Rhine 
country,  Switzerland,  and  Florence,  and  at  length 
reached  Rome,  where  he  soon  attracted  attention 
by  the  excellence  of  his  drawings  and  his  careful 
colouring.  From  1831  until  1849,  with  the  excep- 
tion of  two  short  visits  to  England,  Cromek  passed 
his  time  in  visiting  and  making  drawings  of  the 
principal  buildings  and  the  picturesque  scenery  of 
Italy  and  Greece.  In  1850  he  was  unanimously 
elected  an  Associate  of  the  New  Society  of  Painters 
in  Water-Colours,  when  he  retired  to  Wakefield, 
where  he  died,  after  a  long  and  painful  illness,  in 
1873.  His  drawings,  which  are  chiefly  to  be  found 
in  the  royal  and  private  collections,  are  much 
esteemed  for  the  beauty  of  their  colouring  and 
their  truthfulness  to  nature. 

CROMER,  GiuLia,  a  pupil  of  Mona,  was  born  in 
Silesia  before  1570,  and  died  at  Ferrara  in  1632. 
In  the  latter  city  he  painted  '  The  Preaching  of 
St.  Andrew,'  for  the  church  dedicated  to  that 
saint ;  also  '  The  Calling  of  SS.  Peter  and 
Andrew.' 

CRONE,  Robert,  was  born  in  Dublin  about  the 
middle  of  the  last  century,  and  received  his  earlj-  in- 
struction from  Robert  Hunter,  the  portrait  painter ; 
but  he  soon  left  that  branch  of  the  profession,  and 
commenced  painting  landscapes,  in  which  he 
achieved  considerable  success.  He  afterwards 
went  to  Rome  and  studied  under  Richard  Wilson. 
From  1772  until  1778  he  annually  exhibited  at 
the  Royal  Academy,  although  much  hindered 
and  tried  by  ill-health  superinduced  by  frequent 
epileptic  fits.  His  first  exhibited  pictures  were 
two  landscapes  called  '  Morning  '  and  '  Evening.' 
Crone  likewise  exhibited  drawings,  some  of  which 
were  finished  after  Richard  Wilson's  style  in 
black  and  white  chalk  on  a  bluish-grey  paper. 
His  landscapes  are  now  very  scarce  and  much 
sought  after ;  a  few  examples  are  in  the  Royal 
Collection.     He  died  in  London  in  1779. 

CRONENBURG,  (or  Cronenburch,)  Anna  van, 
a  Dutch  painter,  was  born  at  Pietersbierum  in 
1552.  She  married  Jan  Craen,  and  secondly,  in 
1579,  Jelle  Sybes  van  Wythama,  burgomaster  of 
Leeuwiirden.  Four  female  portraits  by  her  are  in 
the  Madrid  Museum. 

CRONSTADT,  Jacob  Lucius  von.     See  Corona. 

CROOCK,  Hubert  de.     See  De  Croock. 

CROOS,  Jacobus  van,  a  Dutch  landscape  painter, 
flourished  in  the  latter  part  of  the  17th  century. 
There  is  in  the  town-hall  of  the  Hague   a  '  View 
of  the  Hague,'  painted  by  him  in  166B. 
358 


CROOST,  Antonie  van  der.  See  Van  der 
Croost. 

CROSS,  John,  the  son  of  the  superintendent  of 
a  lace  factory  at  Tiverton,  was  born  in  that  town  in 
1819.  Soon  afterwards  his  father  went  to  St. 
Quentin,  as  superintendent  of  an  English  factory, 
and  young  Cross  was  admitted  into  the  School  of 
Design,  and  there  showed  so  much  ability  that  he 
was  sent  to  Paris,  where  he  entered  the  atelier  of 
Picot,  a  painter  of  some  celebritj'  in  the  old  classic 
school.  In  184.S  Cross  sent  to  the  competition  for 
the  decoration  of  the  Houses  of  Parliament,  held  in 
Westminster  Hall,  a  cartoon  of  '  The  Assassination 
of  Thomas  k  Becket,'  which,  from  not  fully  com- 
plying with  the  terms  of  the  competition,  was  not 
successful.  His  second  attempt  in  1847,  with  the 
oil-painting  of  '  The  Clemency  of  Coeur-de-Lion,' 
gained  for  him  the  first  premium  of  £300,  and 
was  afterwards  purchased  by  the  royal  commis- 
sioners for  £1000.  In  1850  he  first  exhibited  at  the 
Royal  Academy,  his  subject  being  '  The  Burial  of 
the  Young  Princes  in  the  Tower.'  This  was  followed 
by  '  Edward  the  Confessor  leaving  his  Crown  to 
Harold,'  in  1851  ;  '  Tlie  Death  of  Thomas  a  Becket,' 
in  1853  ;  '  Lucy  Preston's  Petition,'  in  1856 :  and 
'  The  Coronation  of  William  the  Conqueror,'  in 
1859 ;  but  none  of  Cross's  later  productions  equalled 
his  first  eilort,  for  they  were  all  deficient  alike  in 
drawing,  colour,  and  execution.  His  death  occurred 
in  London  in  1861,  after  which  his  friends  bought 
his  '  Assassination  of  Thomas  a  Becket,'  and  placed 
it  in  Canterbury  Cathedral. 

CROSS,  Michael,  was  a  painter  employed  by 
Charles  I.  to  copy  some  of  the  fine  pictures  in  Italy, 
and  who  is  said  to  have  contrived  to  abstract  a 
'  Madonna '  by  Raphael  from  the  church  of  St. 
Mark,  at  Venice,  and  instead  thereof  to  leave  his 
copy.  The  picture  was  sold  with  the  rest  of  the 
Royal  Collection,  and  is  said  to  have  been  pur- 
chased by  the  Spanish  Ambassador,  together  with 
the  '  Twelve  CcBsars  '  by  Titian,  for  the  King  of 
Spain.  Charles  certainly  knew  nothing  of  the 
theft  ;  nor  can  it  be  supposed  that  he  mistook  the 
original  for  a  copy. 

CROSS,  Thomas,  was  an  English  engraver,  who 
flourished  from  about  1645  to  1685.  He  was 
chiefly  employed  in  producing  portraits  and  plates 
for  the  booksellers,  mostly  from  his  own  designs. 
We  have  by  him,  among  others,  the  following 
portraits  : 

King  Kichard  III. 

Francis  Bacon,  Viscount  St.  Alban's. 
Sir  Robert  Cotton  Bruce,  Bart. 
Jo.seph  Hall,  Bi.shop  of  Exeter. 
George  NVebbe,  Bishop  of  Limerick. 
Kicbard  Cromwell. 

CROSSE,  Lewis,  was  a  celebrated  miniature 
painter  in  the  time  of  Queen  Anne,  who  enjoyed 
the  patronage  of  the  most  distinguished  personages 
of  that  period.  He  also  highly  excelled  in  painting 
copies  in  water-colours  from  the  old  masters.  He 
is  said  to  have  succeeded  so  admirablj'  in  a  por- 
trait of  '  Mary,  Queen  of  Scots,'  painted  by  him  for 
the  Duke  of  Hamilton,  who  wished  him  to  make  it 
as  handsome  as  he  could,  that  for  many  years  it 
was  considered  to  be  a  painting  of  the  16th  cen- 
tury, and  on  that  account  many  times  copied.  He 
formed  a  valuable  collection  of  early  miniatures 
and  drawings,  which  he  sold  in  1722.  He  died  in 
1724. 

CPOSSE,  Richard,  a  miniature  painter,  was  born 
in  Devonshire  in  1745.     He  was  a  member  of  the 


PAINTERS  AND   ENGRAVERS. 


Free  Society  of  Artists  in  1763,  with  whom  he 
exhibited  from  1761  to  1769.  His  first  appearance 
at  the  exhibition  of  the  Royal  Academy  was  in 
1770,  and  he  continued  to  exhibit  there  up  to  1795. 
He  is  said  by  Haydon  to  have  been  dumb,  and  to 
liave  made  his  fortune  by  his  art  in  early  years  ; 
also,  to  have  retired  to  Wells  on  account  of  being 
disappointed  in  his  hopes  of  marrying  Haydon'e 
mother.  He  was  celebrated  for  his  miniatures  and 
small  whole-lengths  in  water-colours.  In  this 
latter  style  he  painted  tlie  portrait  of  Mrs.  Billing- 
ton,  exhibited  by  him  in  1778.  In  1790  he  was 
appointed  painter  in  enamel  to  King  George  III., 
although  he  practised  very  little  in  his  later 
years.  He  died  at  Knowle,  near  Cullompton,  in 
1810.  The  South  Kensington  Museum  has  by  him 
a  miniature  portrait  of  Captain  Swinburne. 

CROUTELLE,  Louis,  a  French  line-engraver, 
who  executed  cliiefly  book-plates  and  vignettes, 
was  born  in  Paris  in  1765,  and  was  a  pupil  of 
Delaunay.  His  most  interesting  work  is  an  alle- 
gorical portrait  of  Voltaire,  published  in  the  Kelil 
edition  of  the  philosopher's  works,  proofs  of  which 
are  extremely  rare.     He  died  in  Paris  in  1829. 

CROWLEY,  Nicholas  J.,  was  born  in  Ireland, 
and  was  elected  a  member  of  the  Royal  Hibernian 
Academy  in  1838.  In  that  year  he  came  to 
London,  and  his  works  were  constantly  to  be 
Seen  in  the  Royal  Academy  Exhibitions.  The 
first  picture  which  he  exhibited  in  London,  in 
1835,  was  '  The  Eventful  Consultation,'  and  bad 
been  sent  from  Belfast,  where  he  then  resided. 
He  was  highl}'  esteemed  as  a  portrait  painter,  and 
was  especially  clever  in  painting  portrait  groups. 
His  death  occurred  in  1857. 

CROWQUILL,  Alfred.     See  Forester,  A.  H. 

GROZIER,  J.  P.,  was  a  French  engraver  of 
talent,  whose  history  is  unfortunately  lost  to  us. 
We  know  only  that  he  flourished  about  1646,  from 
which  we  may  conjecture  that  he  was  born  about 
1620.  We  have  by  him  the  following  plates, 
which  are  very  scarce  : 

The  Healing  of  the  Paralytic. 
St.  John  in  the  Desert. 

Silenus   about   to  make   »n   offeriug  at  the  Altar  of 
Bacchus. 

There  is  also  a  plate  existing  by  a  J.  J.  Crozier, 
engraved  in  honour  of  the  appointment  of  Cardinal 
Bicehi  as  Papal  Nuncio. 

CRUG,  LuDWiG.     See  Krug. 

CRUGER.     See  KrUger. 

CRUIKSHANK,  George,  the  younger  son  of 
Isaac  Cruikshank,  was  born  in  London  in  1792. 
Very  early  in  life  he  had  a  predilection  for  the  sea, 
but  his  mother  opposed  the  wish,  and  urged  his 
father  to  instruct  him  in  art.  This,  however,  the 
father  refused  ;  saying,  that  if  George  was  destined 
to  become  an  artist,  he  would  find  the  way  without 
any  instruction.  The  youth  applied  for  admittance 
into  the  Rnyal  Academy  schools,  but  was  unsuccess- 
ful. His  father  died  when  he  was  still  very  young  ; 
and  when  that  event  took  place,  he  determined  to 
do  his  best  to  support  his  mother.  Some  wood 
blocks  which  his  father  liad  on  hand  were  finished 
by  him,  and  from  that  time  his  employment  was 
secured,  and  his  destiny  in  life  fixed.  He  was 
soon  engaged  in  a  variety  of  undertakings.  He 
illustrated  with  caricatures  a  monthly  periodical 
called  'The  Scourge,'  and  also  one  called  'The 
Meteor,'  which  he  founded  in  conjunction  with  a 
person  named  Erie.     He  executed  a  great  deal  of 


this  kind  of  work  for  Hone,  most  of  whose  publi- 
cations  about   that  time   bear   the  marks   of   his 
active  pencil.    And  not  only  with  his  pencil  did  he 
assist  Hone,  for  to  the  imagination  of  the  young 
artist  the  origin   of   many  of   the   best   political 
squibs,  such   as  the  '  Slap  for  Slop,'  was  mainly 
due.      Merely   to   enumerate   the   pictorial   trifles 
which  that  epoch  of  his  career  produced,  would 
be  an  endless  task.     His  was  'The  Queen's  Matri- 
monial Ladder,'  'The  Man  in  the  Moon,'  and  'Non 
mi  ricordo  ' — all  squibs  referring  to  the  infamous 
trial  of  Queen  Carohne.   A  collection  of  the  political 
caricatures  which  were  published  by  Cruikshank 
at  this  time  would  furnish  a  kind  of  political  his- 
tory of  the  day,  and  would  even  illustrate  many 
of  the  changes  of  opinion  which  prevailed.     The 
first  work  of  any  great  importance  in  which  Cruik- 
sliank  bore  part  was  the  famous  '  Life  in  London,' 
the  original  suggestion  of  which  was  due  to  him 
alone.      The    original    design   was    to   publish   a 
series  of  tableaux  illustrating  the  bright  side  of 
'  life '  in  London,  and  also  the  reverse.     He  was 
ultimately  persuaded,  however,  to  develop  the  idea 
in  collaboration  with  his  brother  Robert  and  Pierce 
Egan,  and  the  result  was  that  whilst  the  last-named 
gentleman  derived  all  tiie  glory  of  writing  one  of 
the  most  popular  books  of  the  time,  the  wholesome 
moral  whicli  was  originally  intended  was  entirely 
lost  sight  of.     Disgusted  with  the  perversion  of 
his  plan,  George  Cruikshank  virtually  left  the  com- 
pletion of  the  plates  to  his  brother  Robert.     After 
this,  Cruikshank  illustrated  a  periodical  called  '  The 
Humourist.'     In   1823-26  he  illustrated  witli  some 
capital  etchings  Grimm's  '  German  Popular  Stories,' 
and  '  Fairy  'Tales ' ;    and  soon   after  published   a 
very  curious  set  of  comic  prints  called  '  Points  of 
Humour.'     From  this  time  he  was  called  upon  to 
illustrate  many  of  the  most  popular  works  of  the 
day.     In  1847,  although  not  at  that  time  a  tee- 
totaller,  he  published  a  series  of  eight  woodcute, 
called  'The  Bottle,' which  were  very  successful. 
To   this   he    next    year    added  '  The    Drunkard's 
Children,'  intended  to  show  the  terribly  degrading 
effects   of  the  immoderate  use   of   strong   drink. 
He  also  puViIished,  'Sunday  in  London,'  'The  Gin 
Trap,'  and  'The  Gin  Juggernaut,'  all  of  which  had 
an  immense  circulation,  and   no  doubt  helped  to 
further  the  cause  of  temperance.     Whilst  he  was 
thus  engaged,  he  was  waited  upon  by  some  dis- 
ciples of  Father  Mathew,  who  convinced  him  that 
'  moderate  drinking  '  was  not  the  best  way  to  aid 
the  temperance  movement,  and  Cruikshank,  enter- 
ing into  the  movement  with  all  the  fervour  of  a 
naturally    ardent    temperament,    became   a   total 
abstainer. 

In  his  later  years  George  Cruikshank  tried  oil- 
painting,  but  his  works  in  this  branch  of  art  are 
as  nmch  caricatures  as  any  etching  he  ever  exe- 
cuted :  yet  they  betray  a  marvellous  power  of 
grotesque  humour  and  deep  insight  into  human 
nature.  His  'Cinderella,'  painted  in  1854,  is  in 
the  South  Kensington  Museimi,  and  the  last  and 
greatest  of  his  efforts  in  uil-painting,  '  The  Wor- 
ship of  Bacchus,'  painted  for  the  National  Tem- 
perance League  in  1862,  is  now  in  the  National 
Gallery.  This  picture  is  a  crowded  and  imaginative 
conception,  full  of  weird  fancies,  and  as  a  work  of 
art  most  unsatisfactory.  He  died  in  London  in 
1878,  and  Wiis  buried  in  St.  Paul's  Cathedral.  The 
following,  arranged  in  chronological  order,  are  the 
most  important  of  the  books  which  he  Ulustrated 
with  etchings: 

359 


A  BIOGRAPHICAL  DICTIONARY  OF 


life  in  London ;  or  the  Day  and  Night  Scenes  of  Jerry 

Hawthorn,  Esq.,  Corinthian  Tom,  and  Bob  Logic,  in 

their   rambles   through  the  metropolis.     By  Pierce 

Egan.    AVith  coloured  plates  by  G.  and  E.  Cruik- 

shank.     1821. 
Grimm's  German  Popular  Stories.     1824-26. 
Hans  of  Iceland.     1825. 
Mornings  at  Bow  Street.     1825. 
Grimm's  Fairy  Tales.     1827. 
Punch  and  Judy.     1828. 
John  Gilpin.    By  Cowper.    1828. 
The  Epping  Hunt.     1830. 

The  Novelist's  Library.     Edited  by  T.  Eoscoe.     1831-32. 
My  Sketch  Book  ;  containing  200  groups.    1833-34. 
Thirty-five  Illustrations  of  Don  Quixote,  in  a  series  of 

fifteen   plates,  designed  and  etched  by  G.  Cruik- 

shank.     1834. 
The  Comic  Almanac.     1835-52. 
Sketches  by  "  Boz  "  (Charles  Dickens).     1836-37. 
Memoirs  of  Joseph  Grimaldi.     1838. 
Jack  Sheppard.     1839. 

Oliver  Twist.     (By  Charles  Dickens.)     1839. 
The  Ingoldsby  Legends.      (By  R.  H.  Barbam.)     Scries 

i.— iii.     1840-47. 
George  Cruikshank's  Omnibus.  Edited  by  L.  Blanchard. 

1842. 
George  Cruikshank's  Table  Book.    Edited  by  G.  A.  A 

Beckett.    1845. 
"Windsor  Castle.     1847. 
The  Miser's  Daughter.     1848. 
Three  Courses  and  a  Dessert.     1849. 
The  Loving  Ballad  of  Lord  Bateman.     1851. 
George  Cruikshank's  Fairy  Library.     1853. 
The  Tower  of  London.     1854. 
Guy  Fawkes  ;  or,  the  Gunpowder  Treason,  an  historical 

romance.    1857. 

Fuller  details  may  be  found  in  Jlr.  G.  W.  Reid's 
Descriptive  Catalogue  of  tlie  Works  of  George 
Cruiksliank,'  published  in  1871. 

CRUIKSHANK,  Isaac,  was  born  at  Edinbiirgli 
in  1756  or  1757.  His  father  had  been  one  of  the 
followers  of  the  Pretender,  and  had  lost  his  pro- 
perty in  that  hopeless  cause.  Isaac  first  came  to 
London  at  the  close  of  the  last  century,  and,  after 
the  death  of  his  father,  tried  to  gain  his  living 
by  drawing  caricatures.  He  was  the  contemporary 
of  Eowlandson  and  Gillray,  and  his  first  published 
print  was  one  in  defence  of  Pitt  in  1796,  who  was 
at  that  time  bitterly  assailed  by  Gillray.  The 
greater  part  of  the  humorous  sketches  illus- 
trating the  works  of  Dean  Swift,  Joe  Miller,  and 
John  Browne,  and  published  by  Messrs.  Laurie 
and  Wliittle,  were  by  Isaac  Cruikshank.  He 
exhibited  at  the  Royal  Academy  in  1789,  1790, 
and  1792,  and  in  his  water-colour  drawings  ex- 
hibited some  talent  He  died  in  London  in  1810, 
or  the  year  following.  He  was  the  father  of 
Robert  Isaac  and  George  Cruikshank. 

CRUIKSHANK,  Robert  Isaac,  the  elder  son  of 
Isaac  Cruikshank,  was  born  in  or  about  1790,  and 
commenced  life  as  a  midshipman  on  board  the  East 
India  Company's  ship  '  Perseverance.'  Probably 
influenced  by  his  brother  George's  success  as  a 
caricaturist  and  artist,  he  left  the  service  and 
practised  in  water-colours  and  made  comic  designs, 
in  which,  however,  he  rarely  went  beyond  medi- 
ocrity. He  was  connected  with  his  brother  George 
in  illustrating  'The  Universal  Songster,'  1828: 
and  '  Cruikshank  at  Home,'  which  was  followed 
by  a  supplementary  volume,  entitled  '  The  Odd 
Volume,'  in  illustrating  which  Robert  Seymour 
was  associated.  Robert  I.  Cruikshank's  best  draw- 
ings were  those  made  for  the  illustration  of 
Cumberland's  'British  Theatre'  and  'Minor 
Theatre.'  His  designs  on  wood  were  often  excel- 
lent, but  generally  spoilt  by  the  engraver.  His 
death  occurred  in  1856. 

360 


CRUYL,  LiEviN,  a  Flemish  priest,  who  was  a 
designer  and  engraver,  was  bom  at  Ghent  about 
the  year  1640,  and  died  there  in  17'20.  He  de- 
signed the  views  of  the  most  interesting  objects  in 
and  near  Rome,  enriched  with  figures  and  animals : 
these  are  touched  with  spirit  and  in  a  pleasing 
style.  Several  of  his  drawings  have  been  engraved 
by  Giulio  Testa ;  and  we  have  by  him  some  very 
interesting  etchings  from  liis   own  designs.     He 

generally  marked  his  plates  ^^ruyl.     The  follow- 
ing are  by  him : 

A  set  of  Twenty-three  Plates  of  Ancient  and  Modem 

Eome :  L.  C'rvyl  del.  et  srul.     1665. 
A  set  of  Views  of  Roman  Euins,  &c.     1667. 
The  Triumphs  of  the  Roman  Emperors;  after  Andrea 

Manteyna ;  ten  plates. 

CRUYS,  Theodob  ver.     See  Verkruys. 

CRUZ,  Juan  Pantoja  pe  la.     See  Pantoja. 

CRUZ,  Manuel  and  Miguel  de  la.  See  De  la 
Cruz. 

CRUZ,  Santos.    See  Santos  Cruz. 

CTESICLES,  (or  Clesides,)  was  a  painter  of 
Ephesus,  who  was  living  in  B.C.  294.  Although 
this  artist  is  not  spoken  of  as  a  painter  of  very 
distinguished  talents,  yet  he  may  be  presumed 
to  have  possessed  some  merit,  from  the  celebrity 
he  acquired  by  the  outrageous  insult  he  offered  to 
Stratonice,  the  queen  of  Antiochus.  Piqued  at  not 
being  treated  by  her  with  the  distinction  which  he 
thought  he  merited,  he  painted  a  picture  of  her  in 
the  arms  of  a  fisherman,  whom  rumour  gave  to  her 
as  a  paramour,  and  placing  it  in  the  most  public 
part  of  the  port  of  Ephesus,  he  immediately  em- 
barked. Stratonice,  however,  would  not  suffer  the 
picture  to  be  destroyed,  such  was  the  exact  resem- 
blance the  artist  had  gi%-en  both  to  herself  and  the 
object  of  her  affection. 

CTESILOCHUS,  a  Greek  painter  of  the  time  of 
Alexander,  was  a  disciple  of  Apelles,  and  is  chiefly 
remarkable  for  the  singular  manner  in  which  he 
treated  one  of  his  principal  works,  representing 
the  Birth  of  Bacchus. 

CUERENHERT,  Dirk  Volkertsz,  (or  Koorn- 
HAERT,)  a  Dutch  engraver,  was  bom  at  Amsterdam 
in  1522.  He  is  more  distinguished  as  a  religious 
controversialist  than  as  an  artist.  He  has,  however, 
the  credit  of  having  been  the  instructor  of  Hen- 
drik  Goltzius.  He  resided  at  Haarlem,  but  died  at 
Gouda  in  1590.  Heinecken  and  Huber  have  given 
catalogues  of  his  engravings,  but  they  are  far  from 
being  complete.     His  plates  are  signed  with  the 

initials  D.  V.  C-,  or  with  the  monogram   TO^^ 

Amongst  them  are  the  following  : 

The  Creation  of  the  TVorld.    Seven  plates. 
The  Descent  from  the  Cross ;  after  L.  Lomlari.     1556. 
Joseph  explaining  his  Dream  ;  after  M.  Heeinskerk. 
Joseph  interpreting  the  Dreams  of  the  Prisoners  of 

Pharaoh  ;  after  the  same. 
Job  reproached  by  his  "Wife :  after  the  same. 
Balaam  and  his  Ass  ;  after  the  same.     1554. 
The  Elector  of  Saxony  appearing  before  Charles  V. 

after  the  same. 
The  Landgrave  of  Hesse  Cassel   before  Charles  V. 

after  the  same. 

CUEVAS,  — ,  a  Spanish  painter,  was  a  native  of 
Huesca,  who  studied  under  and  assisted  Tomas 
PelegJ'et  in  his  decorative  paintings  for  the  cathe- 
dral of  that  city.  He  flourished  about  the  middle 
of  the  16th  century,  and  died  at  Huesca  at  the  age 
of  33. 


PAINTERS  AND  ENGEAVERS. 


CUEVAS,  EuGENio  and  Pedro  de  las.    See  De 

LAS  CdEVAS. 

CUITT,  George,  the  elder,  was  born  at  Moul- 
ton,  in  Yorkshire,  in  1743,  and  having  shown  a 
natural  taste  for  drawing-  and  design  was  sent  to 
Italy  at  the  expense  of  Sir  Lawrence  Dundas, 
whose  family  had  already  been  painted  by  him. 
He  studied  earnestly  for  six  years  at  Rome,  and 
also  pursued  landscape  painting,  a  branch  of  art 
that  was  more  congenial  to  his  tastes.  He  re- 
turned to  England  in  1775,  and  in  1776  he 
exhibited  at  the  Royal  Academy  '  The  Infant 
Jupiter  fed  with  goat's  milk  and  honey.'  He 
afterwards  exliibited  portraits  and  landscapes,  his 
last  contribution  being  in  1798.  Owing  to  fre- 
quent attacks  of  low  fever  he  was  unable  to  reside 
in  London,  and  he  finally  settled  at  Richmond  in 
Yorkshire.  Here  he  found  constant  employment 
in  the  commissions  given  him  by  gentlemen  whose 
parks  and  residences  were  in  his  neighbourhood. 
His  death  occurred  in  1818.  His  portraits  are 
elaborately  finished,  although  very  thinly  painted, 
whilst  his  earlier  landscapes  show  much  ability 
and  feeling  in  their  execution. 

CUITT,  George,  the  younger,  the  only  son  of 
the  painter  of  the  same  names,  was  born  at 
Richmond,  in  Yorkshire,  in  1779.  He  followed  his 
father's  profession  from  his  youth,  and  added  to  it 
the  art  of  etching,  which  he  developed  with  great 
success,  being  induced  to  do  so  by  a  careful  study 
of  Piranesi's  '  Roman  Antiquities.'  He  went  to 
Chester,  where  he  became  a  teacher  of  drawing, 
and  published,  in  1810  and  1811,  'Six  Etchings  of 
Saxon  and  other  Buildings  remaining  at  Chester,' 
'  Six  Etchings  of  Old  Buildings  in  Chester,'  and 
'  Six  Etchings  of  Picturesque  Buildings  in  Chester,' 
and,  in  1815,  five  etchings  for  a  '  History  of  Ches- 
ter.' About  1820,  having  realized  a  certain  com- 
petence by  his  labours,  he  retired  from  the  more 
active  duties  of  Lis  profession,  and  built  himself  a 
house  at  Masham,near  Richmond,  from  whence  he 
published  his  'Yorkshire  Abbeys,'  and  in  1848  his 
collected  works,  under  the  title  of  '  Wanderings  and 
Pencillings  amongst  the  Ruins  of  Olden  Times.' 
These  etchings  exhibit  considerable  talent,  verve, 
originality,  and  truth.  His  death  occurred  at 
Masham  in  1854. 

CULMBACH,  Hans  von.    See  Fuss. 

CUMING,  William,  flourished  at  Dublin  in  the 
early  part  of  the  19th  century,  and  in  1823  was 
one  of  the  three  artists  chosen  by  their  fellows 
to  elect  the  remaining  eleven  who  formed  the 
nucleus  of  the  Royal  Hibernian  Academy.  He 
was  chiefly  esteemed  for  his  female  portraits. 

CUNDIER,  Jacques,  a  French  engraver,  born  in 
1691,  was  a  native  of  Aix.  There  are  by  him  a 
large  number  of  portraits  which  bear  dates  ranging 
between  1717  and  1727. 

CUNEGO,  DoMENioo,  an  Italian  designer  and 
engraver,  was  born  at  Verona  in  1727,  and  died 
at  Rome  in  1794.  He  was  instructed  in  the  art  of 
painting  by  Ferrari,  but  devoted  himself  after- 
wards entirely  to  engraving.  His  copies  from  the 
works  of  the  Italian  masters  gained  him  a  great 
reputation,  and  his  plates  are  distinguished  for 
their  deep  appreciation  of  the  original,  excellence 
of  design,  and  beauty  of  execution.  He  engraved 
several  portraits  of  the  royal  family  of  Prussia ; 
and  was  employed  by  Mr.  Hamilton  to  engrave 
some  of  the  plates  for  his  '  Schola  Italica.'  Cunego 
afterwards  came  to  England,  and  engraved  some 
plates    for   Boydell's   collection.     Among    many 


others  we  have  the  following  engravings  by  this 
artist : 

SUBJECTS    FOR    HAMILTON'S    '  SCHOLA    ITALICA.' 

Three  subjects  of  the  Creation,  from  the  Sistine  Chapel ; 

afUr  Michelaiigdo. 
Eaphael's     Mistress,   called    '  La    Fornarina ' ;    after 

Raphael. 
Galatea;  from  the  picture  in  the  Barberini  Palace; 

after  the  same. 
Ganymede ;  after  Titian. 
Head  of  the  Magdalen  ;  after  Guido. 
The  Prodigal  Son  ;  after  Guercino. 
The  Birth  of  St.  .John  the  Baptist ;  after  L.  Carracci. 
Galatea,    from    the   Famese   Gallery ;   after   Agostino 

Carracci. 
Apollo  and  Silenus  ;  after  Annibale  Carracci. 
St.   Cecilia  receiving  the  Palm  of  Martyrdom  ;  after 

Domenichino. 

SUBJECTS  AFTER   VARIOUS   MASTERS. 

Portrait  of  Raphael  Mengs  ;  after  Mengs.     1778. 

The  Virgin  and  Infant ;  after  the  same. 

Five   sheets  after    Paintings   in   the    Library   of    the 

"Vatican  ;  after  the  same. 
The  History  of  Achilles  and  Hector;  five  plates;  after 

G.  Haviittoii. 
Tlie  Virgin  and  Infant ;  after  Correggio. 
The  Entombment ;  after  Baphael. 
The  Annunciation,  the  Visitation,  the  Nativity,  the 

Circumcision,  the  Adoration  of  the  Magi,  and  the 

Presentation    in    the    Temple  ;     sii    plates ;     after 

Dmi)enichino.     1779. 
Einaldo  and  Armida  ;  after  Guercino. 
A  set  of  thirteen  plates  of  Ruins  ;  after  CUrisseau. 
Musical  Assemblies  and    Conversation  Pieces;  after 

Niccolb  dell'  Ahhate. 
Portrait  of  Cardinal  de  Bernis;  after  A.  Callet. 
Portrait  of  Emmanuel  de  Rohan  ;  after  Fabre.     1776. 

CUNEGO,  Giuseppe,  the  younger  son  of  Do- 
menico  Cunego,  was  born  at  Verona  in  1760,  and, 
like  his  brother,  was  instructed  by  his  father. 
By  this  artist  we  have  the  following  plates  of 
landscapes  : 

Four  Italian  Landscapes,  with  figures  ;  after  F.  de  Capo. 
Eight  Landscapes ;  after  the  pictures  by  Gaspard  Foussin^ 
in  the  Colonna  Palace. 

CUNEGO,  Ldigi,  the  elder  son  and  pupil  of 
Domenico  Cunego,  was  born  at  Verona  in  1750. 
He  chiefly  resided  at  Leghorn.  We  have  by  him 
a  few  plates,  of  which  the  following  are  the 
principal : 

The  Statue  of  the  Apollo  Belvedere. 
St.  Margaret ;  after  Gitercino. 
The  Persian  Sibyl ;  after  the  same. 
Mary  Magdalene  ;  after  Guido. 

CUNINGHAM,  William,  was  a  physician,  who 
practised  at  Norwich  about  1559,  when  he  pub- 
lished his  work  called  '  The  Cosmographical  Glasse,' 
which  contained  many  woodcuts,  as  well  as  a  bird's- 
eye  map  of  Norwich,  the  whole  engraved  by  himself. 
"  CUNNINGHAM,  Edward  Francis,  (sometimes 
called  Kelso  or  Calze,)  was  sprung  from  a  good 
Scotch  family,  and  is  said  to  have  been  born  at 
Kelso  about  1742.  His  father,  having  been  im- 
plicated in  the  attempt  of  the  Pretender  in  1745, 
was  obliged  to  fly  from  Scotland  to  the  Continent, 
and  took  his  son  with  him.  Cunningham  studied 
art  with  much  perseverance  at  Parma,  Rome, 
Venice,  and  Paris.  He  is  said  to  have  assumed 
the  cognomen  of  '  Calze  '  in  Italy.  Soon  after  his 
arrival  in  Paris  he  inherited  the  family  estates,  and 
shortly  afterwards  a  second  bequest  fell  to  his 
share  ;  but  being  dissipated  and  extravagant  he 
speedily  ran  through  all  his  money,  and  was  then 
induced   to  follow  the   Duchess   of  Kingston  to 

361 


A  BIOGRAPHICAL  DICTIONARY  OF 


Russia.  On  leaving  lier  Grace  he  entered  the  ser- 
vice of  the  Russian  Court,  and  afterwards  went 
to  Berlin,  where  he  found  full  employment  as 
a  portrait  painter.  Unhappily  his  improvident 
habits  continued,  and  he  finally  came  to  London, 
where  he  died  in  great  poverty  in  1795.  As  a 
portrait  painter  he  achieved  a  deserved  success, 
and  some  of  his  portraits  have  been  engraved.  He 
also  painted  a  few  historical  subjects. 

CUQUET,  Pedro,  a  Spanish  painter,  was  bom 
at  Barcelona  in  1596.  According  to  Palomino,  his 
works  were  confined  to  the  churches  and  convents 
of  his  native  city,  the  principal  being  some  pictures 
of  the  life  of  St.  Francis  of  Paola,  in  the  cloister 
of  the  convent  of  that  name.  He  died  at  Barce- 
lona in  1666.  The  industrious  restorers,  who  for 
some  time  overran  Spain,  have  destroyed  the 
greater  part  of  his  works. 

CUREAU,  GniLLADME,  a  native  of  Bordeaux,  was 
principally  employed  in  the  early  half  of  the  17th 
century  in  painting  the  portraits  of  the  Mayors  and 
Jurats  of  Bordeaux.  A  collection  of  his  works  was 
sold  by  the  city  in  1793,  but  Bordeaux  still  retains 
in  its  Museum  a  portrait  of  Messire  de  Mullet, 
Seigneur  de  Latour,  by  Cureau,  who  died  in  his 
native  city  in  1647. 

CURIA,  Francesco,  was  born  at  Naples  in  1538. 
He  was  instructed  in  painting  by  Leonardo  di 
Pistoja,  but  afterwards  visited  Rome,  where  he 
studied  the  works  of  Raphael,  and  other  dis- 
tinguished masters.  On  his  return  to  Naples, 
he  painted  many  pictures  for  the  public  edifices. 
He  distinguished  himself  by  the  grandeur  of  his 
compositions,  the  fine  expression  of  his  heads,  and 
a  vagueness  of  colouring  that  approaches  to  nature, 
but  was  not  free  from  the  mannered  style,  which 
was  also  adopted  by  Vasari  and  Zuccaro.  His 
most  admired  work  is  that  in  the  Chiesa  della 
Pieta,  representing  the  'Circumcision.'  It  is  an 
admirable  composition  of  many  figures,  painted 
in  a  fine  style,  and  is  considered  by  Lanzi  as  one 
of  the  finest  pictures  at  Naples.  He  was  the 
founder  of  a  prosperous  school  in  that  city,  and 
died  there  in  1610. 

CURRADO,  Francesco,  was  born  near  Florence 
in  1570,  and  was  brought  up  in  the  school  of 
Battista  Naldini.  He  painted  finst  for  the  churches 
at  Florence,  and  afterwards  visited  Rome,  where 
he  stayed  some  time  and  painted  several  works  for 
the  King  of  Portugal,  who  gave  him  the  Order  of 
Christ.  After  his  return  to  Florence,  he  was  un- 
remittingly occupied  during  a  long  life,  until  he 
reached  his  91st  year,  in  painting,  and  in  the 
instruction  of  his  numerous  pupils.  He  painted 
historical  subjects,  and  some  of  his  large  works 
are  in  the  churches  of  Florence :  the  altar-piece 
of  'St.  Francis  Xavier  preaching  in  India,'  in 
the  church  of  San  Giovannino,  is  esteemed  one 
of  the  best.  But  he  chiefly  excelled  in  historical 
pictures  of  an  easel  size,  of  which  two  of  the  finest, 
representing  the  'Magdalen'  and  the  'Martyrdom 
of  St.  Thecla,'  are  in  the  gallery  at  Florence.  His 
works  are  composed  with  taste  and  judgment,  his 
drawing  is  correct,  and  his  heads  are  full  of  ex- 
pression. In  his  colouring,  like  most  of  the  Tuscan 
painters,  he  is  more  to  be  admired  for  sobriety  than 
vivacity.    He  died  in  1661.    We  find  of  his  works; 

Florence.  UJizi.  His  own  Portrait. 

„  „  The  Magdalen. 

„  .,  Martyrdom  of  St.  Thecla. 

„  Fitti  Pal.  Narcissus. 

„  „  St.  Catharine. 

Vienna.  Galltry.  Abraham  receiving  the  Angel8. 
362 


PlETRO  and  CosiMO,  his  brothers  and  pupils,  became 
his  faithful  followers. 

CURRAN,  Amelia,  who  was  the  daughter  of  the 
famous  Irish  advocate  and  orator,  the  Right  Hon. 
John  Philpot  Curran,  practised  painting  only  as  an 
amateur.  She  died  at  Rome  in  1847.  A  portrait 
of  Percy  Bysshe  Shelley  by  her  was  exhibited  at 
the  National  Portrait  Exhibition  in  1868. 

CURTI,  Bernardino,  was  a  native  of  Bologna, 
who  flourished  about  the  year  1645.  He  engraved 
some  portraits,  among  which  is  that  of  Lodovico 
Carracci.  We  have  also  by  him  a  middle-sized 
plate,  representing  an  emblematical  subject  after 
Luca  Ferrari. 

CURTI,  Francesco,  an  Italian  engraver,  was 
born  at  Bologna  about  the  year  1603,  and  died 
there  about  1670.  He  worked  principally  with 
the  graver,  in  a  neat,  clear  style,  resembling  the 
manner  of  Cherubino  Alberti,  but  very  unequal  to 
that  artist  in  drawing.  Besides  some  portraits,  we 
have  the  following  by  him  : 

Two  Busts  of  the  Virgin  and  St.  Catharine,  on  the 
same  plate. 

The  Virgin  teaching  the  Infant  Jesus  to  read ;  after 
Gvercino. 

The  Marriage  of  St.  Catharine  ;  after  D.  Calvaert. 

Venus   directing  Vulcan  to  forge  Arms  for  j£neas ; 
after  Carracci. 

Hercules  combating  the  Hydra  :  after  Guercino. 

The  Infant  Christ  sleeping ;  after  Guido ;  etched  and 
finished  with  the  graver. 

CURTI,  Girolamo,  called  II  Dentone,  was  born 
at  Bologna  in  1570,  and  was  first  a  disciple  of 
Lionello  Spada,  and  of  Baglioni,  a  painter  of  decor- 
ations, but  he  afterwards  applied  himself  to  study 
from  the  noble  edifices  erected  from  the  plans 
of  Giacomo  Barozzi,  called  Vignola.  He  next 
went  to  Rome,  where  he  improved  his  taste  by 
contemplating  the  magnificent  vestiges  of  ancient 
architecture  in  that  capital.  He  was  a  perfect 
master  of  chiaroscuro,  and  gave  to  his  works  so 
surprising  a  relief,  that  they  have  the  appear- 
ance of  perfect  illusion.  There  are  many  of  his 
works  in  the  palaces  and  public  edifices  at  Bologna, 
in  which  the  figures  are  painted  by  the  most  distin- 
guished of  his  contemporaries.  He  died  in  that 
city  in  1631. 

CURTIS,  Charles  M.,  was  born  in  London  in 
1795,  and  practised  chiefly  on  natural  history 
subjects,  which  he  drew  with  much  accuracy  and 
spirit.  His  brother  was  the  author  of  '  British 
Entomolog}-.'     His  death  occurred  in  1839. 

CURTIS,  John,  was  a  landscape  painter,  and  the 
pupil  of  William  Marlow.  He  exhibited  at  the 
Royal  Academy  from  1790  to  1797,  his  first 
painting  being  a  '  View  of  Netley  Abbey,'  and  his 
last  a  sea-piece,  called  '  Sir  Edward  Pellew's  Action 
with  the  French  Seventy-Four,  "  Les  Droits  de 
I'Homme." ' 

CURTIS,  Sarah,  was  bom  in  the  latter  part 
of  the  17th  century,  and  was  a  pupil  of  Mrs. 
Beale.  On  her  marriage  with  Dr.  Hoadlj-,  after- 
wards Bishop  of  Winchester,  she  quitted  her  pro- 
fession, and  died  in  1743.  Her  productions  are 
mediocre,  and  wanting  in  both  life  and  colour. 
She  painted  the  portraits  of  Whiston,  Bishop 
Burnet,  and  her  own  husband.  Bishop  Burnet's 
portrait  was  engraved  by  William  Faithorne. 

CUSENS.     See  Monteman  t  Cusens. 

CUSIGHE,  SiMONE  DA,  also  known  as  Simone 
DAL  Peron,  both  being  the  names  of  villages  near 
Belhino,  was  living  in  portions  of  the  14th  and 
15th  centuries,  and  is  thought  to  have  died  close 


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PAINTERS  AND  ENGRAVERS. 


upon  1416.  The  altar-piece  of  the  high  altar  in 
the  cathedral  of  Belluno  was  executed  by  liim  in 
1397.     There  also  remain  of  his  works  : 

Belluno.  Baptistery.  St.  Martin  dividing  his  Cloak: 
and  sixteen  other  episodes  from 
his  life. 
„  Casa  Pagani,  Virgin  of  Mercy,  between  16 
subjects  from  the  life  of  St. 
Bartholomew. 

CUSTODIS,  HiERONTMO,  was  a  painter  of  Ant- 
werp, of  whom  nothing  is  known  beyond  the  few 
words  he  has  inscribed  on  his  portraits.  Two  of 
these,  Giles  Bruges,  Lord  Chandos,  and  Elizabeth 
Bruges,  Lady  Kennedy,  are  at  Woburn  Abbey, 
and  a  third.  Sir  John  Parker,  is  at  Hampton  Court. 
All  three  were  painted  in  England  in  1689,  and  are 
very  poor  productions. 

GUSTOS,  DoMiNicus.    See  De  Coster. 

CUVILLIES,  FRANgoie,  a  French  architect,  and 
«ngraver  of  ornaments,  was  born  at  Soissons  in  1698, 
and  went  to  Paris  in  1714  to  study  architecture 
under  Robert  de  Cotte.  About  1720  he  was  sent 
to  Cologne  to  execute  work  for  the  Elector  James 
Clement,  and  in  1738  he  was  nominated  architect 
to  the  Elector  of  Bavaria,  afterwards  the  Emperor 
Charles  VII.  He  died  about  the  end  of  1767  or 
the  beginning  of  1768. 

CDVILLlfcS,  Francois,  the  son  of  the  preceding, 
was  an  engineer  and  architect,  born  at  Munich  in 
1734.  He  succeeded  his  father  at  the  court  of 
Munich,  and  there  published  his  father's  works  in 
1769 — 1772.  He  etched  some  plates  of  Funeral 
Monuments,  Fountains,  and  Caryatides,  and  is  sup- 
posed to  have  died  about  1805. 

CDYCK  VAN  MIEROP,  Frans  van,  (or  Cutck 
VAN  MiERHOP,)  was  born  at  Bruges  in  1640,  and 
painted  in  Ghent  historical  pictures,  with  portraits 
of  the  persons  in  the  events  depicted,  but  his 
best  productions  represent  animals,  especially  fish, 
and  some  of  his  works  are  scarcely  to  be  dis- 
tinguished from  those  of  Snyders.  He  was  de- 
scended from  a  noble  family,  and  at  first  painted 
only  for  amusement ;  but  a  reverse  of  fortune 
compelled  him  to  pursue  the  art  as  a  profession. 
He  died  after  1686.  The  Academy  of  Bruges  has 
a  picture  of  '  Still  Life  '  by  this  painter. 

CDYLENBORCH,  Abraham  van,  (Cuylenbdrg, 
or  KuYLENBHRO,)  Was  a  painter  of  Utrecht,  who 
flourished  in  the  17th  century.  He  was  instructed 
by  Poelenburg,  in  whose  manner  he  executed  land- 
scapes with  idyllic  and  mythological  scenes ;  his 
figures,  however,  are  but  abortive  imitations  of  that 
master.  In  1639  lie  was  appointed  master  of  the 
Guild  at  Utrecht,  and  his  name  occurs  in  the 
records  as  late  as  1660.  Among  his  paintings  we 
may  notice : 


Brunswick. 

Cologne. 
Hague. 


Gallery. 


A  Grotto. 
A  Grotto. 
Diaua. 
Diana. 


1646. 
1647. 
1660. 


CUYLENBURG,  Cs.  van,  of  Utrecht,  painted  in 
Holland  in  the  early  years  of  the  nineteenth  century. 
He  died  at  the  Hague  after  1816.  A  portrait  of 
Willem  Crul  by  him  is  in  the  Amsterdam  Gallery. 

CUYP,  Aelbert,  the  son  of  Jacob  Gerritsz  Cuyp, 
was  born  at  Dordrecht  in  1605,  and  studied  under 
his  father.  He  married  in  1658,  and  lived  chiefly 
on  his  estate,  Dordwijk,  near  Dordrecht,  in  which 
town  he  was  considered  of  some  importance.  His 
name  does  not  occur  in  the  records  of  the  Guild  : 


and  it  is  thought  by  some  that  he  may  have  practised 
art  only  as  an  amateur.  But  little  is  known  of  his 
life.  He  died  in  1691,  and  was  buried  in  the  church 
of  the  Augustines  at  Dordrecht. 

Cuyp,  who  has  been  called  the  Dutch  Claude, 
acquired  the  chaste  and  exquisite  style,  for  which 
he  is  so  particularly  admired,  by  a  close  and  vigilant 
attention  to  nature,  under  all  the  vicissitudes  of 
atmosphere  and  season.     His  pictures  frequently 
represent  the  borders  of  the  Maas,  with  shepherds 
and   herdsmen  tending  their  cattle.      These  sub- 
jects he  has  treated  with  an  enchanting  simplicity, 
that   may  truly  be   said   to   be   peculiar   to   him. 
Whether  he  wished  to  exhibit  the  dewy  vapour  of 
morning,  ushering  in  the  brightness  of  a  summer 
day,  the  glittering  heat  of  noon,  or  the  still  radiance 
of  evening,   nature  is  perfectly  represented.      No 
painter,  perhaps,  has  surpassed  him  in  the  purity  of 
aerial  tint.     Cuyp  did  not  confine  himself  to  land- 
scapes and  figures ;  he  painted  with  equal  success 
sea-pieces  and  views  of  rivers,  with  boats  some- 
times sailing  with   a  fresh   breeze,  sometimes  at 
anchor  in  a  sultry  calm  ;  winter-scenes,  with  people 
amusing  themselves  on   the   ice ;   and  pictures  of 
birds,  which  would  have  been  a  credit  to  D'Honde- 
coeter.     He  excelled  also  in  horse-fairs  and  skir- 
mishes of  cavalry,  which  he  painted  with  infinite 
spirit,  in  a  manner  equal,  if  not  superior,  to  Wou- 
werman.     He  was  not  less  happy  in  his  pictures 
of  moonlight ;  in  which  the  works  of  Van  der  Neer 
are   eclipsed  by  a   superior  and    a  more   delicate 
degradation  of  light.     He  also   painted   portraits 
(an  example  is  in  the  National  Gallery),  interiors  of 
churches,  fruit,  and  flowers  ;  and  may  thus  be  called 
the  most  universal  painter  of  the  school  to  which  he 
belonged.      The, pictures  of  Cuyp  are  to  be  met 
with  more  frequently  inEngland  than  in  any  other 
country,  and,  with  the  exception  of  those  in  the 
Louvre,  almost  all  his  masterpieces  may  be  found 
in  the  public  galleries  and  private  collections  of 
this  country,  for  it  was  in  England  that  the  beauty 
of  his  pictures  was  first  appreciated.     Till  about  the 
middle  of  the  18th  century,  they  could  be  bought 
for  as  little   as  thirty  florins  a-piece ;   they  now 
fetch  as  much  as  £3,000. 

The  following  are  some  of  his  principal  works, 
which  are  usually  signed  (in  early  life,  A.  C,  and 
later,  A.  Cuijp),  but  rarely  dated. 


Amsterdam.  Gallery. 


Amsterdam    Six  Coll. 

Antwerp.      Gallery. 
Berlin.  Museum. 


Brussels.       Mttseujn. 

Copenhagen.    Museum. 
Darmstadt.     Museum. 
Dresden.       Gallery. 


Dublin.         Kal.  Gall. 
Dulwich.       Gallery. 


Hilly  Landscape. 

Shepherds  with  their  Flocks  in 
a  landscape. 

Cavalry  Combat. 

View  of  Dordrecht. 

Moonlight  Scene. 

The  Two  Cavaliers. 

Sandy  Landscape. 

Sunny  View  of  the  Dimes. 

River  Scene. 

Cows  in  a  Landscape. 

Interior  of  a  Stable,  with  an  Ox 
and  Fowls. 

Landscape  with  Horsemen. 

Herdsman  and  Cattle. 

Hunting  Scene. 

Boy  with  a  Greyhound. 

Portrait  of  Himself,  as  a  bride- 
groom. 

A  Grey  Horse  with  a  Groom. 

Milking  Cows. 

The  White  Horse  in   a  riding 
stable. 

Evening  Ride  near  a  River. 

A  Road  near  a  River. 

Cattle  and  Figures  near  a  River, 
with  Mountains. 

363 


PAINTERS -AND  ENGRAVERS. 


Dulwich. 

Gallery. 

Frankfort. 

Stadel. 

1* 
Hague. 

Gallery. 

London 

Nat.  Gall 

Cattle  near  a  River. 
And  others. 
Portrait  of  a  Boy. 
Evening  Landscape. 
A  member  of  the  De  Roovere 
Family  directing  Salmon-fish- 
ing in  the  environs  of  Dor- 
drecht. 
Landscape,    with    Cattle    and 
Figures:  Evening  (a  masttr- 
piece). 
„  „  A  Man's  Portrait  {dated  ie49). 

„  „  Horseman     and    Cows     in     a 

Meadow:  Evening. 
„  „  Rive^  Scene  with  Cattle. 

„  y.  Ruined  Castle  in  a  Lake. 

„  „  The  Windmills. 

„  „  Cattle  and  Figures  (the  '  Large 

Dort '). 
„  „  Cattle  and  Figures  (the  '  Small 

Dort'). 
,,  ,,  Landscape,    with     Figures     on 

horseback  and  on  foot. 
£ridgewater  \  y.  ^^^^  ^^ 

House.         J  ° 

,,  „  View  on  the  Meuse. 

„  Buckinqham   \  A   Herdsman,  a   Woman,  and 

Falace.        J      Cattle. 
„  „  Landscape  with  River. 

„  Bedford  Cell.  Fishermen  on  the  Ice. 

„  Holford  Cull.  View  of  Dordrecht. 

Munich.      Finakothek.    A   Horseman  holding  a  white 
Horse. 
„  „  Fowls  in  a  Stable. 

Paris.  Louvre.  Landscape  with  Shepherd  and 

six  Cows  ia  masterpiece). 
„  ,,  Starting  for  a  Ride. 

„  „  The  Ride. 

„  „  Portraits  of  Children. 

,,  ,,  Portrait  of  a  Man. 

Sea-piece. 

Landscape  and  Cattle. 
Portraits      of      Himself       and 

Family. 
Cows  in  a  Landscape. 
The  Meuse. 
The  Scheldt. 
Cattle  in  a  Landscape. 
Horses  on  the  Bank  of  a  River. 
Moonlight  at  Sea. 
Landscape — Woman  with  Cows. 
River  Scene. 
Interior,  with  a  Forge. 
„  „  Two  Grey  Horses. 

„  ,,  Fish. 

It  *.  Game. 

II  II  Poultry. 

„  ,,  Head  of  a  Cow. 

Aelbert  Cuyp  has  left  eight  small  etchings  of 
cows,  which,  though  not  executed  with  much 
delicacy  or  care,  evince  the  hand  of  the  master. 
They  are  very  scarce. 

CUYP,  Bekjamin,  a  pupil,  and  apparently  a 
nephew  of  Jacob  Gerritsz  Cuyp,  was  born  at 
Dordrecht  in  1608,  and  was  received  into  the 
Guild  there  in  1631.  He  formed  his  style  on 
that  of  Aelbert  Cuyp,  Rembrandt,  and  Teniers 
the  elder.  His  subjects  are  taken  from  sacred 
history,  coast  scenery,  and  peasant  life.  His 
works   are   rarely  met  with  in   public  galleries. 


Pesth.  Gallery. 


Petersburg.  Hermitage. 


Rotterdam.  Museum. 


The  following  are  attributed  to  him  : 

Berlin.  Gallery.  Adoration  of  the  Shepherds. 

Dresden.        Gallery.  Peasants  playing  and  singing. 

Lille.  Museum.  The  Resurrection. 

,,  ,,  Portrait  of  a  Young  Woman. 

Petersburg.  Hermitage.  Peasants  quarrelling. 

CUYP,  Jacob  Gerritsz,  the  father  of  the  cele- 
brated Aelbert  Cuyp,  and  a  pupil  of  Abraham 
Bloemaert,  was  born  at  Dordrecht  in  1575.  He 
occasionally  painted  views  of  towns,  landscapes, 
and  battle-pieces,  but  he  is  principally  famous  for 
his  portraits.  He  was  one  of  the  four  founders  of 
the  Guild  of  St.  Luke  at  Dordrecht.  He  was  still 
living  in  1649.     The  following  works  are  by  him  : 

Amsterdam.  Gallery. 
Berlin.  Gallery. 


Frankfort.    Stadel. 
Munich.        Finakothek, 
Petersburg.  Hermitage. 
Rotterdam.  Museum. 


A  Dutch  Family. 
PortraitofanOldWoman.    1624. 
Portraits    of    a    newly-married 

Couple. 
Portrait  of  a  Young  Man. 
Portrait  of  a  Lady. 
View  of  a  Town  on  a  broad  River. 
Two  Soldiers  sitting  at  Table. 
Three  Children  in  a  Landscape. 

1635. 

Portrait  of  an  Officer.     1644. 
Portrait  of  a  Lady.     1644. 

CUYPERE,  Andries  de.     See  Stevens. 

CYDIAS,  a  native  of  Cythnus,  who  was  living 
in  B.C.  364,  may  be  presumed  to  have  been  a 
painter  of  considerable  ability,  as  one  of  his 
pictures,  representing  'Jason  and  his  followers 
embarking  for  Colchis,  in  search  of  the  Golden 
Fleece,'  was  purchased  at  Rome  by  the  orator 
Hortensius  for  twenty-four  thousand  sesterces,  and 
was  afterwards  bought  by  Marcus  Agrippa,  and 
I  laced  in  the  Porticus  of  Neptune  to  commemorate 
his  naval  victories. 

CYL,  Gerard  van,  a  painter  of  Amsterdam  or 
Leyden,  who,  about  the  year  1649,  produced  a 
number  of  portraits  and  conversation  pieces  in  the 
style  of  Van  Dyck,  whom  he  imitated  with  decep- 
tive accuracy. 

CZECHOWICZ,  Simon,  was  born  at  Cracow  in 
1689,  and  went  when  quite  young  to  Rome,  where 
he  placed  himself  for  improvement  under  Maratti, 
and  resided  during  thirtj'  3'ears.  After  his  re- 
turn he  worked  principally  in  Warsaw,  but  also 
in  Cracow,  Wilna,  Podhorce,  and  Polock.  He  at 
length  entered  the  order  of  the  Capuchins,  and 
from  that  time  devoted  himself  wholly  to  painting 
for  them.  He  established  the  first  school  of  paint- 
ing in  Poland.  His  death  occurred  at  Warsaw  in 
1775.  Some  three  hundred  strictly  religions  pic- 
tures by  him  have  been  estimated  to  exist,  of  which 
107  are  in  Podhorce  Castle,  and  others  in  the 
Jesuits'  College  at  Polock,  and  the  churches  of  the 
Piarists  and  St.  Florian  at  Cracow.  His  masterpiece 
is  the  '  Miracle  of  the  Broken  MHk-pot,'  at  Wilna. 

CZERMAK,  Jaroslav.     See  Cekmae. 

CZERNY,  LuDOVic,  an  Austrian  painter,  and 
professor  of  the  Academy,  died  at  Vienna  in 
January  1889,  aged  sixty-nine. 


1 


END  OF   VOL.   I. 


364 


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